Contemporary journalism faces a crisis of trust that threatens the institution and may imperil democracy itself. Critics and experts see a renewed commitment to local journalism as one solution. But a lasting restoration of public trust requires a different kind of local journalism than is often imagined, one that engages with and shares power among all sectors of a community. Andrea Wenzel models new practices of community-centered journalism that build trust across boundaries of politics, race, and class, and prioritize solutions while engaging the full range of local stakeholders. Informed by case studies from rural, suburban, and urban settings, Wenzel's blueprint reshapes journalism norms and creates vigorous storytelling networks between all parts of a community. Envisioning a portable, rather than scalable, process, Wenzel proposes a community-centered journalism that, once implemented, will strengthen lines of local communication, reinvigorate civic participation, and forge a trusting partnership between media and the people they cover.

Engaged Journalism explores the changing relationship between news producers and audiences and the methods journalists can use to secure the attention of news consumers. Based on Jake Batsell's extensive experience and interaction with more than twenty innovative newsrooms, this book shows that, even as news organizations are losing their agenda-setting power, journalists can still thrive by connecting with audiences through online technology and personal interaction. Batsell conducts interviews with and observes more than two dozen traditional and startup newsrooms across the United States and the United Kingdom. Traveling to Seattle, London, New York City, and Kalamazoo, Michigan, among other locales, he attends newsroom meetings, combs through internal documents, and talks with loyal readers and online users to document the successes and failures of the industry's experiments with paywalls, subscriptions, nonprofit news, live events, and digital tools including social media, data-driven interactives, news games, and comment forums. He ultimately concludes that, for news providers to survive, they must constantly listen to, interact with, and fulfill the specific needs of their audiences, whose attention can no longer be taken for granted. Toward that end, Batsell proposes a set of best practices based on effective, sustainable journalistic engagement.

Interactive journalism has transformed the newsroom. Emerging out of changes in technology, culture, and economics, this new specialty uses a visual presentation of storytelling that allows users to interact with the reporting of information. Today it stands at a nexus: part of the traditional newsroom, yet still novel enough to contribute innovative practices and thinking to the industry. Nikki Usher brings together a comprehensive portrait of nothing less than a new journalistic identity. Usher provides a comprehensive history of the impact of digital technology on reporting, photojournalism, graphics, and other disciplines that define interactive journalism. Her eyewitness study of the field's evolution and accomplishments ranges from the interactive creation of Al Jazeera English to the celebrated data desk at the Guardian to the New York Times'Pulitzer-endowed efforts in the new field. What emerges is an illuminating, richly reported portrait of the people coding a revolution that may reverse the decline and fall of traditional journalism.

With the advent of the internet and handheld or wearable media systems that plunge the user into 360º video, augmented—or virtual reality—technology is changing how stories are told and created. In this book, John V. Pavlik argues that a new form of mediated communication has emerged: experiential news. Experiential media delivers not just news stories but also news experiences, in which the consumer engages news as a participant or virtual eyewitness in immersive, multisensory, and interactive narratives.Pavlik describes and analyzes new tools and approaches that allow journalists to tell stories that go beyond text and image. He delves into developing forms such as virtual reality, haptic technologies, interactive documentaries, and drone media, presenting the principles of how to design and frame a story using these techniques. Pavlik warns that although experiential news can heighten user engagement and increase understanding, it may also fuel the transformation of fake news into artificial realities, and he discusses the standards of ethics and accuracy needed to build public trust in journalism in the age of virtual reality. Journalism in the Age of Virtual Reality offers important lessons for practitioners seeking to produce quality experiential news and those interested in the ethical considerations that experiential media raise for journalism and the public.

When we encounter a news story, why do we accept its version of events? Why do we even recognize it as news? A complicated set of cultural, structural, and technological relationships inform this interaction, and Journalistic Authority provides a relational theory for explaining how journalists attain authority. The book argues that authority is not a thing to be possessed or lost, but a relationship arising in the connections between those laying claim to being an authority and those who assent to it. Matt Carlson examines the practices journalists use to legitimate their work: professional orientation, development of specific news forms, and the personal narratives they circulate to support a privileged social place. He then considers journalists' relationships with the audiences, sources, technologies, and critics that shape journalistic authority in the contemporary media environment. Carlson argues that journalistic authority is always the product of complex and variable relationships. Journalistic Authority weaves together journalists' relationships with their audiences, sources, technologies, and critics to present a new model for understanding journalism while advocating for practices we need in an age of fake news and shifting norms.

Myth of 'Free Media' and Fake News in the Post-truth Era reveals the story of 'fake news' hysteria and myth of 'free media' in the post-truth world order, starting from the question of whether there has really been a 'truth' era.  The book examines how the news media is battling for relevance in the age of Internet. It shows how the wave of media 'liberalization' has weakened the basic premise of Libertarian Media Function Theory, which states that the media is the 'Fourth Estate' that protects the citizens from abuse of power by the government. It analyses how excessive commercialization of the media and the commodification of news has changed journalism globally. The book recommends a new paradigm and explains how it can be used to transform news reporting from an adversarial model to a human-centric one.

As media industries undergo rapid change, the conditions of media work are shifting just as quickly, with an explosion in the number of journalists working as freelancers. Although commentary frequently lauds freelancers as ideal workers for the information age - adaptable, multi-skilled, and entrepreneurial - Nicole Cohen argues that freelance media work is increasingly precarious, marked by declining incomes, loss of control over one's work, intense workloads, long hours, and limited access to labour and social protections. Writers' Rights provides context for freelancers' struggles and identifies the points of contention between journalists and big business. Through interviews and a survey of freelancers, Cohen highlights the paradoxes of freelancing, which can be simultaneously precarious and satisfying, risky and rewarding. She documents the transformation of freelancing from a way for journalists to resist salaried labour in pursuit of autonomy into a strategy for media firms to intensify exploitation of freelance writers' labour power, and presents case studies of freelancers' efforts to collectively transform their conditions. A groundbreaking and timely intervention into debates about the future of journalism, organizing precariously employed workers, and the transformation of media work in a digital age, Writers' Rights makes clear what is at stake for journalism's democratic role when the costs and risks of its production are offloaded onto individuals.