journalism - gradireland · 2 | journalism & media t his booklet covers several career fields...

Journalism& Media

The gradireland Journalism & Media sector careerguide is published by The Association of GraduateCareers Services in Ireland (AGCSI) and GTISpecialist Publishers Ltd (Ireland).

Project managed by AGCSI Careers InformationCommittee:Philip Clarke, Queen’s University BelfastPaul Murphy, Dún Laoghaire Institute of Art,

Design and Technology (co-chairs)Kendra Cassidy, NUI, Galway (secretary)Colette Aungier, Trinity College DublinCora Cregan, St Patrick’s College, DrumcondraSeamus McConomy, University of UlsterCatherine Lyster, Letterkenny Institute of

TechnologyMary Egan, Athlone Institute of TechnologyGeraldine Fay, Dublin City University

Editor Penny KileyDesign & production Maya LittleProofreader Naomi HoldstockPublishers Chris Phillips, Adrian Wood

GTI Ireland, 7–9 Upper Baggot Street, Dublin 4,Ireland

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© December 2005 The Association of GraduateCareers Services in Ireland (AGCSI) and GTISpecialist Publishers Ltd (Ireland). All rightsreserved. No part of this publication may bereproduced by any means including, but notlimited to, photocopying or stored in a retrievalsystem in any form without prior written consentof AGCSI. This is subject to the single exception ofphotocopying by AGCSI-member institutions. Allitems so used should be fully acknowledged. Theviews expressed in articles are those of the authorand their publication does not necessarily implythat such views are shared by AGCSI and GTI.Whilst every care has been taken in thecompilation of this publication, the author andpublishers cannot accept responsibility for anyinaccuracies, or for consequential loss arisingfrom such inaccuracies, or for any other loss,direct or consequential, arising in connectionwith information in this publication.

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ÜCONTENTS

Opportunities in Ireland and Northern

Ireland ..............................................................2

Film and television ..............................4–10

Radio ......................................................11–13

Journalism............................................14–18

Further study and courses ....................19

Further information ................................21

Writer: HELLEN GALLAGHER,Mary Immaculate College, University of Limerick

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Opportunities inIreland and NorthernIrelandEmployment opportunities are getting broader, but this is acompetitive market.

2 | Journalism & Media

Ü

This booklet covers several career fields –

journalism, print media, film, television

and radio – and encompasses a wide

range of job specifications. Careers in these

fields are not limited to graduates of media,

journalism or communications courses:

graduates of many disciplines, from

engineering to liberal arts or art and design, can

forge a path for themselves in many of these

industries, sometimes through further study or

Reproduced permission of Zanzibar films.

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training, sometimes by sheer hard graft and

canny networking.

Training courses in journalism and media

within Ireland and Northern Ireland are

constantly increasing, both in quantity and

quality. While there can be no doubt that

employment opportunities in Ireland in this

area have become much broader (and this

growth is forecast to continue), whether the job

market can keep up with the increase in

graduates seeking careers in these industries is

open to debate. The National Union of

Journalists gives a number of approximately

4,700 journalists in Ireland and Northern

Ireland, while Screen Producers Ireland states

that there are over 4,300 people employed

directly in the film and television industry in

Ireland. One trend in media employment

remains constant; for recent graduates, initial

work tends to be piecemeal and sporadic.

Many graduates, particularly those in

Northern Ireland, may choose to move

backwards and forwards across the Irish

Channel to access education, training and job

opportunities in the UK. Some travel further

afield, but the tendency is to return to work in

Ireland after gaining experience or training,

rather than to remain part of the diaspora.

One of the major forces for change within

these industries is the whole area of new

technology and computer software. Programs

such as Final Cut Pro, Pro Tools, 3D Studio Max,

Flash, Director, Illustrator and Dreamweaver ,

have started to ‘merge’ in terms of their media

uses; markets have altered dramatically in

terms of the internet and broadband

availability and, as people look for more online

entertainment, they create a demand for web-

based ‘media’, which is fast becoming a

lucrative market.

‘We envisage production risingfrom about £123m at present toover £500m by 2010, and acommensurate increase in highlyskilled direct employment andemployment in related services.’The Strategic Development of the Irish Filmand Television Industry 2000–2010

Final Report of the Film Industry StrategicReview Group to the Minister for Arts,Heritage, Gaeltacht and the Islands. August1999. Department of Arts, Heritage,Gaeltacht and the Islands.

‘The number of productions perannum has increased from anaverage of six per year in the period1989 to 1992 (prior to introductionof the film tax incentive forindividual investors) to an averageof 21 productions per year duringthe period 2000–2001.’Screen Producers Ireland

Finally, more and more graduates are

moving into teaching in this area. The sheer

number of media and journalism related

courses in Ireland and Northern Ireland

demonstrates that this is fast becoming much

more than a mini industry.


Film and televisionThere are many different job roles in this industry, but they allneed a ‘foot in the door’.

Ü

Within film and television, there are

many different job types, with many

more hybrids, depending on the area

or size of the organisation. Entry to these

careers can be as varied as the job descriptions

themselves. The following (very brief) overview

sets out several of the job titles common in

media industries.

Producer Producers are the people who make it all

happen by combining creative input with

business know-how. The producer decides how

resources will be deployed and may be

instrumental in accessing funding. Some travel

may be involved, and some work will be carried

out on set, but much is office-based. Wherever

the work takes place, the hours are long and

irregular. Work is normally freelance.

DirectorDirectors are the creatives who plan and

organise a production. They manage all aspects

of a shoot and its post-production and can be

involved in just about any area of production, as

well as liaising with all areas of the team. This

work involves incredibly long hours and can

involve just about any location imaginable.

Production manager Production managers are the ‘go-betweens’

who prepare the ground for filming to begin.

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They are involved in sourcing locations, crews

and actors, preparing scripts and schedules and

complying with legal requirements. This work

involves the standard industry long and

irregular hours and is normally freelance.

Assistant directorThere is a hierarchical scale for assistant directors

(1, 2 and 3), but all are involved in organisation

and planning. This includes implementing the

shooting schedule, providing a link between set

and producer, organising actors on set and

ensuring that health and safety requirements

are adhered to. For the duration of shooting,

much of an assistant director’s work is carried

out on set, for long, long hours. Work is normally

freelance, apart from work in major television

companies and very large production companies.

Production assistantThis is an organisational role and involves much

liaison with other members of the production

team. The job includes a lot of administrative

work, including scheduling (staff and locations),

overseeing scripts, obtaining clearances and

often much more. This work is normally

freelance, can involve extensive travel and

always involves long, irregular hours.

ScreenwriterScreenwriters write the scripts that become

television programmes and films. A significant

period of time is spent rewriting these scripts

for a series of drafts. Screenwriters tend to work

freelance on specific commissions.

Sound technician Sound technicians work with sound equipment

and technology to record, balance and monitor

(and sometimes mix) sound for radio, television

and film. Work tends to be carried out within a

studio and hours can be highly irregular. Much

of the work is freelance.

Camera operator There are several hierarchical sub-categories

within this job title: clapper/loader, focus puller,

camera operator. All involve the use of cameras

and other equipment, video and digital

technology. Obviously technical training is

required. Some television/production

companies retain camera operators, but most

of the work is freelance.

Researcher The title is self-explanatory: researchers collect

accurate information for film, TV and radio

productions. Work is often freelance and can be

very specialised. General research work may

provide an entry point to production in radio,

television or film.

Other rolesObviously, there are a myriad of other careers

within this industry, such as animator, set

designer or wardrobe designer, quite apart from

support industry personnel from other fields

such as finance, law and administration and

ancillary fields such as marketing.

What to expectThe hours are long, hard and irregular. However,

‘Be willing to work for free at thestart. Particularly, show awillingness to travel.’Áine Ní Dhúil, Script/Production Associate


provided you are a member of the Services,

Industrial, Professional and Technical Union

(SIPTU), you will be well-paid, though there are

exceptions for low-budget productions. In these

cases, crew get paid minimum rates. Depending

on your skills (camera, lighting, production,

direction, writing, floor management, sound

engineering, set designing, web designing, etc),

pay scales will reflect your grade if a union is

involved; if not, experience is taken into

consideration.

Obviously, the higher up the scale you work,

the better the money and the more tempting

the travel opportunities, but full-time

employment is still difficult to come by. That’s

when you become established in your chosen

career. The reality for most job seekers starting

out is that they will initially work for very low

wages, or even for free on short-term contracts,

in order to ‘get their foot in the door’.

Film and television work demands someone

who is flexible time-wise. Television drama may

require 12 –14 hour days, six days a week for up

to 12 weeks; feature film work has a similarly

demanding timescale. Copywriting for radio

adverts will involve short, tight 72-hour deadlines.

The ideal candidateA degree is not necessarily required, but can be

a good place to start. Specific qualifications or

training are directly related to specific

departments. Leaving education and training

aside, the requirements for many of the jobs in

film and television disciplines are very similar:

‘Concorde Anois Teo, Hofnaflus anda number of other Clare/Galway-based companies are regularlyhiring, so currently having Irish isprobably an advantage, as a lot ofgraduates with Irish are gettingwork not only with thesecompanies but also with TG4.’Nicky Fennell, Lecturer in Media &Communications Studies, Mary ImmaculateCollege

NAME Áine Ní DhúilJOB Script/Production Associate on Ros naRún for TG4EDUCATION BA in Irish & Media &Communication Studies (2001); HDip inApplied Communications (2002)

How did you get your job?On Ros na Rún, I started off with six-monthcontracts. Last year I became StudioCoordinator/Locations Manager. I had severalcontracts before I got into production andthere were periods in between when I had nowork. My current job is my first twelve-monthcontract. During my off-campus year at college,I worked as a Researcher/Production Assistantwith Gael Media. Then, during my HDip, I gotwork experience with a production company inGalway on Féilte. After graduating in 2002, Iworked on shorts – which I heard about byword of mouth. During this time, I got to do abit of everything. It seemed that each job gaveme contacts that led to another job.Companies would ring production companies Ihad worked for looking for a list of people andmy name was passed on. Eventually, I wentback to Féilte and then on to Ros na Rún. Ros naRún regularly take on a lot of trainees. Onceyou are in there, you can move around and it’sa great way of learning about all aspects of thejob. I saw the advertisement for my first jobwith Ros na Rún in Foinse.

What does the job involve?Áine’s job is an amalgam and entailswatching and managing several different

STORYLINE, STRUCTURE AND SCRIPT

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• the ability to work well in a team

• people skills

• punctuality and reliability

• time management and the ability to work to

deadlines

• availability

• initiative

• tenacity and a very thick neck!

• a full driving licence – this has become an

essential requirement for many areas.

What most prospective employers really

want, however, is proven experience. This is the

Catch 22 – how to get that experience.

areas. Primarily, she ensures that writingparameters are adhered to. This means shekeeps on top of the storyline, structure andscript for up to four drafts at each stage of theproduction. Issues would include: ensuringinsurance regulations are adhered to (forinstance, actors may not be shown cuttingvegetables!); making sure character usage is inline with actors’ contracts; making sure thatscheduling of weekly and daily actors isappropriate; monitoring set usage (makingsure money isn’t wasted just shooting onescene in a distant location); and flagging theseissues as they arise. To keep on top of all ofthis, she liaises with the series producer, theproduction manager, writers, and thepersonnel and accounts departments.

How did your degree help prepare youfor your work?My degree was quite broad, which inhindsight was a good thing. I had a nicebalance between theory and practical coursesand my off-campus year gave me a greatunderstanding of the area. My diploma yeardid not really expand on this much, but thethree months’ work experience was veryuseful and, of course, hooked me up withsome work after I had finished. If you do get towork in a research area, you’ll find that allthose skills you learned in college do help.

What training have you received?I got to do lots of training on Ros na Rún, as Ihad a try at everything. Also, Ros na Rúnencourages staff to go on a lot of trainingcourses – and pays for them – so I have done

courses in assistant directing, time-management, research for TV and – veryimportant – occupational health and safety.The courses were provided by variousorganisations: FÁS, Skillset and the BBC.

Advice for graduates• Bang on doors and show your face – be

enthusiastic!• When submitting CVs, pay attention to

simple things like presentation.• If applying to an Irish-orientated

organisation, make an effort to use your Irish.• Scriptwriters really earn their money: they

are constantly rewriting. You have beenwarned!

• For interviews, have heaps of suggestions,even if they seem off the wall.

• The Irish Film and Television Network (IFTN)website is a good place to look for jobs.

• If you are going for a specific area, such ascamera work, have some material whichshows your skills to bring to interviews.

• Word of mouth makes reputations; alwaysbe nice to everyone. It’s a team thing and areputation for being good to work with doesget you jobs.

• Don’t be fussy – you don’t have that luxuryat the start – just get in and get started.

• You will find that in small productioncompanies, for any job, you will end updoing much more than the job specdescribed to you in college.

• Start building up your skills during yourundergraduate years, offer to work for freeover the summer, with Pat Shortt ifnecessary!


NAME Edwina ForkinJOB Film Producer, Zanzibar FilmsEDUCATION BA, Philosophy (1990)TRAINING Media Business School, Ronda,Spain; European Audiovisual Entrepreneurs(EAVE)

How did you get your job?I had worked in the music business in America.When I came back to Ireland, a friend who wasa producer said I would be good at producing,although I had no idea what a producer did.This friend provided a contact, which led to myfirst job as a trainee production assistant. Iwould say I got the job because I was oldercoming into the industry, I had more lifeexperience and I also had the necessaryequipment: a car, phone and computer.

I worked as a casting assistant/locationsassistant. Following from my work there, I wasrecommended to Hubbard who were doing abig job for Bord Failte. This was a hugeadvertising project and I kept getting workfollowing that. Another contact led to my firstshort film.

Meanwhile, on the sidelines, I continued tomake applications to film boards for featurefilms, shorts, etc. Then, a contact who hadsome start-up money asked me to produce the

film Zanzibar, the first Irish film on 35 mm. Itwas a good film and we went to the Irish FilmBoard for completion money and got €24,000.In order to access the money, I had to set up aproduction company, so I started ZanzibarFilms. I kept putting in applications for awards(and we kept winning!) and was head-huntedto produce several commercials.

When I got development money for myfirst feature, I quit my job (Monday to Fridaywas made up of some freelance, someretainers for commercials – weekends andholidays I worked on films) and really wentinto producing and started bringing in moneyfor features.

What does the job involve?Edwina’s work centres on finding products –scripts – and raising the money to producethem, then finding the right distributor tomarket them. Her work involves a lot oftravelling to film fairs to market productions –Cannes, Rotterdam, Galway! Essentially, she isrunning a company: it is a business. Thecompany includes a head of development,another producer and an assistant. Applicationsfor development funding have to besubmitted constantly and contracts and book-keeping must be processed, so she also has tobe an accountant and lawyer to some degree.

Getting a jobFirstly, sending CVs to television companies is

unlikely to result in job offers for those starting

their careers. RTÉ’s website states that it

‘employs under 2,000 people, including the

many broadcasting personalities who provide

RTÉ’s unique mix on radio and television,

together with writers, journalists, musicians,

actors, designers, producers and technical staff.’

It should be noted that this figure includes

various support staff, and is not a reflective

number of actual media-type jobs. The RTÉ

website does advertise positions in its Job

Vacancies Section, helpfully labelled ‘Graduate

Placement’, but don’t hold your breath. (The

BBC also advertises entry-level positions: there

is a training scheme which can lead to

employment within the BBC, but competition

for these places is cut-throat.)

The other two national television stations

are TV3 (a free-to-air commercial, independent

television network) and TG4 (which seeks to

‘provide a high quality programming schedule

in Irish and other languages’).

IT IS CREATIVE BUT IT’S REALLY A BUSINESS

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How did your degree help prepare youfor work?My degree was in Philosophy and involved alot of writing – this really helps withproposals. Studying also trained me to meetdeadlines, which is essential in my work.

What training have you received?I have done a lot of European training courses,with Media Business School, Ronda, Spain;EAVE. These training courses helped mebecome the producer I am. The Europeancourses really honed my abilities and taughtme the business. I try to do a course every yearto keep up to date with developments, and allthe staff in the company are sent on courses.

Advice for graduates• There is definitely a ladder system. Be willing

to start at the bottom and work hard.• It is really necessary to have a car and other

tools, not just computers, but goodcommunication skills are also important.

• Be polite and courteous, and be fair to teamworkers. Your reputation is very valuable.

• Always aim for the best standards in orderto make a name for yourself. Zanzibar Filmswas the first Irish company to use 35 mmand laser, and we always aimed to producethe highest quality product.

• Have a mission statement – that’s what youstand for as a company, or even as anindividual.

• Film festivals in Cork, Galway, Kerry, Omaghand Belfast provide great networkingopportunities.

• For interviews, personal presentation isimportant. Film may have a name as a laid-back industry, but you need to look smart.

• In interviews, final choices are personality-driven: people will hire someone they thinkwill fit into the team.

• Be positive!

TG4 has broken the mould over the last few

years – the average employee age is around 28

and younger employees are being given proper

responsibility, which has not previously been

standard practice in Irish television.

The normal pattern in film and television is

to do a degree in media, film, advertising,

journalism or a related field and then spend a

few years working freelance for a pittance while

building up a CV and establishing a reputation

which will lead to more regular work. This can

be seen as an ‘apprenticeship’ period and

graduates should realise that they will probably

need to support themselves for about two to

three years, whether this be by working

graveyard shifts or borrowing up to the hilt.

So, the first step is probably to get a short-

term contract, or even just a work experience

placement, with a production company.

There are a number of publications available

from the Irish Film Institute which list

production companies and give contacts and

addresses. These can be sourced on their

website www.ifi.ie, but be warned: every

Zanzibar crewReproduced permission of Zanzibar films.


company listed is bombarded in May of every

year with placement requests and very few are

in a situation to be able to provide them.

A more strategic route is to keep up to date

with what projects are due to begin production

and then apply to the relevant companies.

Many short-term productions run over the

summer or last for six to eight weeks. This work

experience can be invaluable to those starting

out.

Where to look• Irish Film and Television Network

www.iftn.ie. Look under Production. Gives list

of all current film productions ‘Chaser Lists’:

students can use these to contact companies

to research work options.

• Irish Film Board www.filmboard.ie. Look

under News and Information. Check under

‘Funding Decisions’: this shows which

documentaries and feature films will be in

production.

• Ireland On Screen. Book produced by Film

Base.

• Film Scan. Available from the Irish Film Centre

in Dublin for €12.

From a film and television point of view,

joining organisations like Film Base, the Galway

Film Centre or the Cork Film Centre can be

useful, but only if you are based in the vicinity

of those organisations. Membership does

entitle you to enter script award competitions

which can be a fast way of ‘launching’ yourself.

Many graduates who want to work in film

will try to get a SIPTU card. This means that

four members of the film union must sign a

form agreeing to nominate them for a specific

job description (first assistant director,

production assistant, clapper/loader, etc).

Once they have their card they can only work

in that specific area and based on an ‘hours

worked’ system. They enter a sort of

‘apprenticeship’ whereby they build up work

and experience and gradually move up the

grades. Under Section 481 the tax breaks given

to production companies shooting in Ireland

are related to the number of Irish people

employed, and SIPTU cards are fairly essential

for this kind of work.

Film Ireland (Issue 105 July/August 2005)

has a useful article entitled ‘Points of Entry’, a

practical guide to getting into the industry

which includes the cunning strategies of young

people working in the industry who managed

to get their foot in the door.

Skillset Careers website (www.skillset.org)

has a searchable database of broadcast, film,

video and interactive media careers in the UK,

including Northern Ireland.

Applications and interviewsFor all careers in these industries, recruiters are

looking for one major item on CVs – experience.

So include every scrap of experience you have

garnered, whether it be a couple of weeks’ work

experience, college productions, or broadcasting

for community radio. Obviously, CVs must be

professionally presented and, even if this is not

requested, should be accompanied by some

material which highlights your skills in this area,

even if it is only a video produced in college.

Interview processes vary, depending on the

particular job. Entry-level applicants who are

lucky enough to make the shortlist may be

brought back to carry out some work which will

highlight their skill level and how they function

as part of a team.

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RadioThe nature of this work has changed dramatically.

Ü

Radio occupies a special niche, bearing

many similarities to television

production, but just as many differences.

Quite often, those working in radio will carry

out work from several departments, reporting/

producing, recording and mixing ready for

broadcast. Furthermore, radio work is more

likely to go out live than television productions.

Generally, radio work can be broken down

into content production (including station

manager, producer, reporter/journalist, DJ/

presenter, researcher, runner) and technical

production (engineers with relevant training).

As with film and television work, radio can

involve very irregular and unsocial hours. Again,

recent graduates must often start off with

unpaid or poorly paid work in order to get

experience. Those beginning their careers can

expect to work part time at first, for which they

should get at least the minimum wage.

Graduates should get between €12 and €15

(£8–£10) per hour. Wage rates very much

depend on whether the job is unionised. It is

advisable for new employees to join the

National Union of Journalists when they start.

Obviously, the big name in radio in Ireland is

RTÉ (www.rte.ie). RTÉ Radio consists of four

stations, RTÉ Radio 1, RTÉ 2FM, RTÉ Lyric FM and

RTÉ Raidió na Gaeltachta. RTÉ News and

Current Affairs provides the public with daily

news and current affairs services via RTÉ Radio,

RTÉ Television and online via their website.

Radio in Ireland is not limited to RTÉ.

Commercial radio is huge: there are 26

commercial stations, one national station

(Today FM), one regional station (Beat FM) and

19 community radio stations, plus six hospital

radio stations. This all adds up to a lot of

opportunities outside of the RTÉ orbit.

Furthermore, there are more opportunities in

the pipeline, with more regional stations and a

youth radio station forthcoming. It would be

advisable to keep an eye on the Broadcasting

Commission of Ireland website (www.bci.ie) to

see what new licences are offered and,

naturally, to check the newspapers to see what

developments are reported.

Technically, the nature of radio has changed

dramatically in recent years, with digital

recording, editing, and broadcasting on

computers replacing the use of much recording

and editing equipment. Audio tapes in radio

stations are fast becoming a thing of the past.

Those working in technical fields in radio must

be competent with the necessary computer

skills.

Public perception and expectation of what

radio should offer has also changed. Due to the


increase in local radio stations, listeners now

expect to have access to radio that refers to

their own region, as well as national stations.

The ideal candidateAs with film and television, apart from training,

an ideal candidate will have initiative, great

communication and people skills, will be

punctual and reliable and able to meet

deadlines. Determination and tenacity are also

required! Those working in radio will need to be

very adept at thinking on their feet and dealing

with unexpected situations, as many

productions will go out live. For those actually

presenting, the ability to get their ideas across

clearly and audibly is essential. A pleasant

sounding voice is always a help, but this does

not imply any specific accent.

Starting outTypical responsibilities and tasks for entry level

positions include:

• shadowing someone more experienced

• sourcing ideas

• pitching for stories

• background information research

• establishing phone contacts.

Getting a jobIn order to get a job, you have to know where

you would like to work. Listening to radio is

crucial to make this decision. Having made this

decision, persistence is key. A common theme

for graduates now working in radio is that

constant phone calls ( just short of

harassment!) and sometimes literally ‘banging

on doors’ were necessary to get that first

contact. It is important to meet if possible,

rather than writing or making a phone call.

A portfolio on tape to bring to meetings is

essential. This should reflect a variety of styles,

introduce some music, some news, weather,

and interviews. Your portfolio should also be

included with your CV in job applications.

Applications and interviewsIn the field of radio, work experience can often

lead to a first job. In these cases, interview

processes will be quite informal. In the case of

more formal interview processes, calls for

interviews are often based on portfolios. This is

your tool to sell yourself.

On CVs, employers are generally looking for

experience over qualifications. Any experience

with college/community stations can be

included to demonstrate that you have the

necessary skills.

For broadcasting, interviewers may try to

test if you can react quickly and appropriately if

put on the spot. This is not about giving a

wrong or right answer, but to ascertain your

ability to think on your feet.

‘Don’t be afraid to speak with alocal accent, especially for localradio stations.’Nessa McGann, Community Radio StationManager

STARTING OUT STRATEGIES• Start small – try local or community

stations.• Seek volunteer or internship positions.

Bear in mind that there can be heavycompetition even for unpaid work. If youwork as a volunteer, you can find out ifyou really want this job or not.

• Don’t be picky about the type of work –even manning the phones can teach a lot.

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SPEAKING CONVINCINGLYNAME Nessa McGannJOB Community Radio Station Manager, Wired FMEDUCATION BA, English & Philosophy (1998);MA (part-time while working), Media &Communications Studies (2003)

How did you get your job?I started offbroadcastingin college onthe campusradio stationas a volunteerand learnedthe‘productionstuff’ on thejob. Afterfinishing mydegree Istarted workat RTÉ in Cork.A contactgave me the phone number of someone whoworked there and I basically just rang themevery day for two months. Finally I was passedon to someone else and I was offered a job inthe newsroom with Pascal Sheehy and again, Iwas very much learning on the job. Eventually,I also started doing some work for Lyric FM.When I moved to Limerick for family reasons, Isaw an advertisement for my current positionin a newspaper and applied for the job.

What does the job involve?Nessa runs a radio station for students. Thismeans that she takes care of everythingincluding training students in radioproduction (she is an Irish Institute forTraining & Development trainer), fundraisingfor the station, making sure there’s a goodprogramming schedule, hiring and supervisingwork placement students, running specialprojects, events, live gigs and conferences.

How did your degree help prepare youfor your work?My liberal arts degree was a good foundationin that it developed my thinking processes andhaving studied Philosophy and English meansthat I can speak convincingly and endlessly onradio! My MA provided me with a theoreticalbackground.

What training have you received?As far as radio production is concerned, Ireceived no formal training. I learned throughmy volunteer work and also at RTÉ. Althoughthere was no formal training there, I learnedthrough practice.

Advice forgraduates• Don’t try to get

my job. You can’thave it!

• Having a degreeis importantbut havingexperience canbe morevaluable and ifyou have both, you are in the best positionto get a worthwhile job.

• Those starting out on a career in radioshould be aware that in Ireland, there is aculture of not paying young people. If youcan accept this, you can get invaluableexperience as a volunteer. In communityradio everyone is a volunteer and this can bea really great place to learn.

• Be persistent. If you want a job in radio, youwill have to fight for it.

• Networking is essential.• You are only as good as your last job, even if

it was unpaid.• Radio in Ireland is a very small pond; everyone

knows everyone – most people are willing tohelp. How you treat people is important.

• If you perform well on one project, you willbe recommended for others.

‘If you are unusualin some way –women in sportsradio are still afairly rare andexotic species – itmakes you morenoticeable.’

‘Always, always,always have ideas forstories, features andprogrammes. Andwrite them down!Otherwise you willforget them. Many’sthe great Friday nightidea that is forgottenby Saturday morning!’


JournalismJournalism offers a structured career.

Ü

Journalism includes newspapers, magazines,

and online material (the internet is

beginning to prove itself a serious medium

for journalism, with many stories now being

broken by webzines). The industry is very

different to journalism a decade ago. This

change is advantageous to those now entering

the industry, as they are likely to be very

technologically savvy, in comparison with many

more experienced journalists who would have

started on typewriters and might not be as

comfortable with computers and the internet.

Newspaper journalism is fairly structured as a

career, with established salary scales and healthy

employment prospects. Starting salaries for

journalists usually range from between €20,000

and €25,000 (£13,000–£15,000) per annum, and

can range up to €45,000 (£30,500) and above

for mid-level to senior journalists. Working

hours and travel will very much depend on the

area covered but, apart from the constant battle

with deadlines, it is not difficult to achieve a

comfortable level of career stability.

For print media, many graduates can

proceed straight from a journalism course into

their first job, provided they can produce

examples of their work. Journalism is obviously

helped by qualifications but an ability to work

as a freelance journalist producing high-quality,

regular fare can get you places quicker.

Journalism in magazines and periodicals

differs from newspaper journalism in that

deadlines are less immediate and the journalist

will be writing for a narrower audience

(business, professional or consumer), which can

become very narrow indeed. There are a myriad

of publications catering to niche markets

(specialist consumer), which can seem quite

obscure to outsiders. Obviously, the type of

magazine will depend on the journalist’s own

interests. Magazine journalists can contribute

as a member of staff for a publication or work

in a freelance capacity. Working on the staff of a

magazine either falls under the category of

writing or editing, although small publications

may blur these boundaries.

The ideal candidateThe ideal candidate will have some training in

journalism, whether derived from a course or

on the job. Many journalists have degrees in

STARTING OUT TIPS• Those new to the field are usually required

to produce factual, dispassionate reports,not editorials or commentaries.

• Write often, not just for your portfolio, butalso to improve your language and editingskills.

go to | 15

other areas, such as economics or politics. The

following qualities are essential:

• excellent writing skills

• the ability to meet deadlines

• strong research skills

• the ability to work independently and

creatively

• strong news judgement

• well-developed analytical skills

• organisation and prioritisation skills

• quick response to breaking news

• interpersonal skills

• accuracy and attention to detail for fact-

checking.

For journalism on radio or television, a level

of comfort with the medium is required.

Starting outStarter jobs can include magazine assistant

editor or trainee, newspaper general

assignment reporter or monitoring the crime

desk for a larger paper. In the case of TV and

radio journalism, the starting point is normally

a production assistant or writing news copy.

Aspiring journalists can always try to get

freelance or contract work. Then there is the

opportunity to showcase talents online with a

mailing list, webzine or online column,

although this would produce no revenue at

first, naturally.

Getting a jobMost graduates will start small on local or

regional papers. The two main sources of

employment are newspapers and news

agencies.

Under Fair Employment legislation, jobs

have to be advertised in other newspapers. In

Ireland, the Sunday Independent has the most

widely read media section and therefore would

offer the lion’s share of advertisements for

media and journalism positions. Some positions

are advertised in the Business Post. Throughout

Ireland and the UK, The Guardian media section

is the most widely read media section. UK

positions are advertised here, but also more

senior positions for Irish publications. As

advertising in The Guardian is extremely

expensive, more junior Irish positions would not

usually be advertised, but sometimes if there is

a ‘cluster’ of vacant positions, these will all be

advertised together.

There will be many applicants for positions

advertised, but do not lose hope: typically, quite

a sizeable number of applications are

completely unsuitable, as they come from

people with no training or experience. However,

do bear in mind that, as with other industries,

many posts advertised will have internal

applicants, who often have a distinct advantage.

‘Specialisation in a particularsubject area while working on asmall local or regional paper willallow you to build up expertise forwhen you are ready to move up to alarger paper. Papers often advertisefor a correspondent for a particularbrief. It might be a differentgeographical area but with theexpertise you have developed, youwill know the language to convinceeditors that you can deliver thisbrief from the very start.’John McGarrity, Reporter


STARTING OUT TIPSAttaching a photo with your copy does giveyour pieces an edge, so an interest inphotography does broaden your appeal toprospective employers.

‘Make sure your application letter isstructured like a reflective andanalytical news story.’John McGarrity, Reporter

NAME John McGarrityJOB Reporter, Point CarbonEDUCATION BA, History (1997); GraduateDiploma, Journalism (1999)

How did you get your job?After getting my Graduate Diploma inJournalism, I could have got a Masters if I hadspent another four months on a thesis, but atthat stage I was hungry for work. I got my firstjob with a news agency in Belfast throughcontacts who had finished the GraduateDiploma course the year before. I got mycurrent job through networking again. I keptin contact with colleagues who had alreadyleft the company I was working for in Belfast.Colleagues who started working with PointCarbon brought me on board.

What does the job involve?John generates news reports on Kyoto protocol(concerning emissions from factory and powerplants). This work entails liaising with a rangeof contacts from governments, companieswhich burn hydrocarbons to generateelectricity, colleagues involved with theproject, together with a wide variety ofpressure groups and non-governmentalorganisations. The job requires travel to thecompany headquarters in Oslo four or fivetimes a year for meetings (also providingopportunities for socialising).

How did your degree help prepare youfor work?My primary degree in History was very usefulin that it equipped me with research skills and

also developed my writing skills. My degreetaught me to write in an effective way – to getpoints across succinctly and still convey what Iwant to say with some flair. My postgraduatecourse was a lot more vocational and taughtme how to structure a story, as well aspractical stuff such as how to get a job. I alsogot to do a placement with the Business Postas part of my postgraduate degree.

What training have you received?A lot of the training I needed came from mypostgraduate course, but there was on-the-jobtraining as well.

Advice for graduates• The work can be interesting, but be aware

that it’s not as glamorous as it appears inbooks and films!

• The industry is now structured so that a lotof interviewing takes place by telephone.The whole interview process is verydifferent if you can’t see someone.Reporters don’t tend to go out door-stepping so much anymore.

• The pay in the UK can be rubbish!• I would advise those starting their careers

to specialise early, do a variety of reporting –weekly and local papers are a great placeto start, find your niche and build upexpertise.

• Whatever your field of specialisation is,you have to find it fascinating. You cannotwrite about a subject in an interesting wayunless you are passionate about it.

YOU HAVE TO FIND IT FASCINATING

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One way around this is to ensure that you

yourself are an internal applicant, through

taking on voluntary or low paying work to get

started with a publication.

For those trying to make a start in broadcast

journalism, the path is much less

straightforward. Job opportunities tend to be in

specialised areas. Very few jobs are to be found

in the advertisement sections of newspapers

and those are for top positions. A lot of jobs in

the industry are filled by promotion from

within. A good strategy is to get a foot in the

door doing just about anything, even answering

phones, and then show initiative and make a

good impression.

Applications and interviewsYour application should include your CV,

portfolio and covering letter. When writing your

application letter for a newspaper, be aware of

the big stories and campaigns generated by

that publication.

Sometimes an advertisement will specify

that CVs should be accompanied by five ‘most

significant’ stories. Even if the advertisement

does not request a portfolio send one anyway.

Your portfolio should present a mixture of

hard news and features. If the position is in a

general news area, a variety of subjects should

be represented. Do not include any examples

which you do not consider to be strong pieces.

In interviews, you will probably have to explain

why you chose those particular examples. If you

can’t do this, don’t include them. If you do not

have a sufficient quantity of strong published

material, all is not lost. You can still write up a

story, submit it for publication and, even if it

doesn’t get published, you can attempt to

persuade the interview panel why it is a strong

piece and why it should be published. Then let

them decide!

The initial large number of applicants will

generally be whittled down for interviews.

News agencies and larger newspapers will

generally have a two-tier interview system

(smaller or more regional publications may be

much more informal about the whole process);

a first interview with the editor or head of desk

and a second with executives from the

publishing group and the editor.

Interviews may include some (or none) of

the following tests: shorthand; typing (not too

demanding, normally 30-40 wpm will suffice);

exercises with fragments of mock-up stories to

discern how you will put these fragments

together (story board, background, who you

would interview, your general narrative skills).

If an application leads to an interview, it is

essential that you know everything about the

publication. Graduates are continuously advised

to research the interviewing organisation

thoroughly. In this industry, you really can’t

research minutely enough. Your research should

not just include the subject area covered by the

organisation but also financial information,

who their personnel are and what they have

written.


YOU NEED A LOT OF DRIVENAME Darren FrehillJOB Sports Journalist, TV3EDUCATION National Certificate inHumanities – Radio Broadcasting (1998)

How did you get your job?I had worked in Galway BAY FM at weekendswhile I was at school. I was only paid a fewodd bob, but I did it for experience. Because Iloved sport, I started ringing in results, then Igradually built up to do reports. Staff atGalway BAY recommendedthat I do the course in DúnLaoghaire for technicaltraining. When TV3 came online, I sent in a CV. I wasoffered freelance work atfirst and it took off fromthere.

What does the jobinvolve?Darren performs a number of tasks in theSports Department. First of all, he is a sportsreporter; he also commentates onChampionship League, which he presentstwice a week. He produces the nightly showSports Tonight, and is deputy producer forChampions League. He works ‘flat out’ everyday and each day is different.

How did your degree help prepare youfor your work?My course gave me a lot of confidence withequipment and systems, and also a lot ofconfidence in my own abilities. It put me intothe mode of thinking of a producer/reporter,so I was not intimidated going to work at TV3.I met a lot of good contacts through thecourse. There was a real mixture at college,people who are now very successful in theirown field. The lecturers at the time weresenior journalists with national papers andbroadcasters with RTÉ, so I learned a lot from

them and they also helped with contacts.During the course, I also got some workexperience with RTÉ which was absolutelyinvaluable. In hindsight, some of the mostvaluable parts were the English modules andthe training in how to write for differentmedia – I’m now writing a lot of scripts.

What training have you received?The most important was the training atGalway Bay FM. Many people think that TVand radio are very different, but a lot of the

ground rules are verysimilar.

My degree course wasvery good from a trainingperspective. There was acollege radio station and alot of the first year wasspent starting a radiostation from scratch,

aiming to broadcast, scripts, admin, applyingfor a licence, the lot. It was very wide-reachingand all very useful.

Advice for graduates• It’s very competitive. You have to really want

it. You also have to have a lot of drive. It’srare that you will walk into a good job rightaway, so be persistent. Months or evenyears can go by before you get your bigbreak.

• You need to love the subject matter, or youwon’t present well.

• Know what you’re getting into – exploreyour options.

• Contacts are vital. Anyone you meet whocan help, take down their name andnumber and keep in touch – even if youdon’t know if it will be useful, it may belater on.

• When you are in the job, try to get an insideline.

• The most important thing is not to getdisheartened.

‘Many people think that TVand radio are very different,but a lot of the ground rulesare very similar. ’

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Further study and coursesThere are many opportunities for building your skills.

Ü

Film and TV production coursesThe following colleges offer specialist

qualifications at diploma, degree and

postgraduate level:

• The National Film School at IADT Dún

Laoghaire: www.iadt.ie• The UCD School of Film: www.ucd.ie/film• Ballyfermot College of Further Education:

www.bcfe.ie

Other training for film and TVIt is not always necessary to complete a higher

diploma or degree to access the particular skills

required for a job. There are now many sources

of training to fill any gaps in required skills.

FÁS Screen Training Ireland

www.screentrainingireland.ie. Screen Training

Ireland has an extensive training programme

(for ‘film, television, animation and digital

media’) on their website. Many of their courses

are aimed at those already working in the

industry in either a freelance or permanent

capacity. However, some are tailored to

‘emerging producers and production managers’,

‘trainee and assistant art directors’, etc.

There are also a number of training

organisations which provide training for new

entrants to the film and television industry:

Filmbase www.filmbase.ie. Filmbase is a

support organisation for independent film and

video makers in Ireland, which offers training

and development for both new entrants and

more experienced professionals.

Galway Film Centre www.galwayfilmcentre.ie.

Galway Film Centre provides training to

independent film-makers, artists, community

groups and schools at all levels, with an

emphasis on practical, hands-on training.

Northern Ireland Film and Television

Commission www.niftc.co.uk. NIFTC run

workshops for those new to the industry. They


also provide advice and assistance to

experienced industry professionals.

Skillset www.skillset.org. The specialist

careers information, advice and guidance

service for broadcast, film, video, interactive

media and photo imaging in the UK, including

Northern Ireland.

Training for journalistsThose graduates focusing specifically on a

career in journalism should note that the

National Union of Journalists approves courses

offered by the following colleges: Dublin City

University, NUI Galway, Dublin Institute of

Technology, Griffith College, Ballyfermot College

of Further Education, Coláiste Dhúlaigh.

Courses range from post leaving cert to

postgraduate level.

Advertisements for journalism positions will

often refer to a degree as desirable, but rarely

essential. Although there is no formal

qualification required to work as a journalist, in

practice, a degree at undergraduate or

postgraduate level has become the norm. It

would appear that undergraduate and

postgraduate courses are equally valid.

Further informationYou can search the database on

postgradireland.com for details of current

postgraduate courses.

‘The mechanics of film-making –shot and counter-shot, not crossingthe line, keeping the boom out ofthe frame – are things that can betaught. The qualities that make agood film-maker – vision,originality, good judgement andthe ability to work with others – arethings that must be learned.’Lir Mac Cárthaigh, FilmIreland Jul/Aug 2005,Filmbase

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Further informationÜ

General• www.prosperity.ie Media recruitment site:

gives a good breakdown of the areas within

this career and starting salaries, etc.

• Learning Ireland www.learningireland.ieDatabase of training courses, evening classes,

etc.

Film & Television • Access Cinema www.accesscinema.ie

Formerly Federation of Irish Film Societies.

• Bord Scannan na hEireann/Irish Film Board

www.filmboard.ie• Cork Film Centre (formerly CAVERN)

www.corkfilmcentre.com Film resource centre

for local film-makers. Runs incentive with RTÉ.

• Film Base www.filmbase.ie Dublin-based

resource centre for low budget and young

film makers. Publisher of Film Ireland. Runs

incentive with RTÉ and co-ordinates training

courses with Screen Training Ireland.

• Irish Film Institute www.ifi.ie Based in the

Irish Film Centre, responsible for promotion

of film in Ireland and runs Irish Film Archive.

• Film Ireland www.filmireland.net Published

monthly by Film Base, the Centre for Film and

Video Ltd.

• Galway Film Centre www.galwayfilmcentre.ieFilm resource centre for local film-makers.

Equipment, training, information and

production facilities provided at non-

commercial rates. Publishes quarterly Film

West.

• Irish Business and Employers Confederation

www.ibec.ie• Irish Film & Television Network www.iftn.ie

Representative body for audio visual industry

in Ireland.

• Screen Training Ireland

www.screentrainingireland.ie Works with

FÁS to develop and implement national

training strategy for the audio visual industry.

• RTÉ www.rte.ie• TVthree www.tv3.ie• TG4 www.tg4.ie• Windmill Lane Pictures Ltd

www.windmilllane.com Post-production

facilities house.

• Irish National Cinema Barton, R (2004)

Routledge.

• Report on Indigenous Audiovisual Production

Industry Coopers & Lybrand (1992).

• RTÉ and the Globalisation of Irish Television

Corcoran, F (2004) Intellect Books.

• The Bigger Picture, an Independent Economic

Report commissioned by Film Makers Ireland

on the Irish Film and Television Industry

McWilliams, D (1999) Film Makers Ireland.


Radio• Broadcasting Commission of Ireland

www.bci.ie• Community Radio Forum of Ireland

www.craol.ie• Radio Waves www.radiowaves.fm• Today FM www.todayfm.com

Journalism• National Union of Journalists (covers Ireland

and UK) www.nuj.org.uk• Irish Writers’ Union www.ireland-writers.com• International Federation of Journalists

www.ifj.org• Newslink www.newslink.org Opportunities

for journalists in the United States.

• Periodicals Publishers’ Association

www.ppa.co.uk• The Newspaper Handbook Keeble, R (1998)

Routledge

For the UK• British Broadcasting Corporation

www.bbc.co.uk• Hold the Front Page

www.holdthefrontpage.co.uk Biggest source

of advertisements for jobs with local papers

in the UK.

• Skillset www.skillset.org Sector Skills Council

for the audio visual industries. Funded by

industry and the government, offers training

and circulates job opportunities.

The Association of Graduate Careers Services inIreland (AGCSI) is the professional associationfor careers services in higher education inIreland, north and south. It fosters co-operationamong the individual careers services,producing a range of careers publications forstudents and graduates.

GTI Ireland is a division of GTI SpecialistPublishers, one of the leading graduate careerspublishers in Europe, publishing over 100careers magazines and directories each year aswell as the graduate careers website for the UKdoctorjob.com.

GTI Ireland, 7–9 Upper Baggot Street, Dublin 4

Titles in the seriesArts & Social SciencesBusiness Studies, Commerce & EconomicsComputing & ITConstructionEngineeringFinanceHealth SciencesHospitalityLanguagesLegal ProfessionMediaPostgraduate Study & AwardsPsychologyScienceSocial WorkTeaching & EducationWork Experience

Written by careers advisers and available todownload at gradireland.com/publications

journalism - gradireland · 2 | journalism & media t his booklet covers several career fields...

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