Category: DPA Winners

In October 2017, the Global News investigation Canada’s Toxic Secret shone a light on pollution in Sarnia, Ontario. The city and its surrounding region, including the Aamjiwnaang First Nation, is popularly known as Chemical Valley due to its high concentration of petrochemical facilities. Global News investigated how recent chemical leaks and spills may be contributing to illness among local residents.

The impactful project lead to funding for a new health study on the impacts of air pollution in the Sarnia region. It’s also received many awards, including the Gold award for Best Social Storytelling at the 2018 Digital Publishing Awards.

With content shared across Facebook, YouTube, Twitter, Instagram, and Medium, Canada’s Toxic Secret was able to reach a wide audience of Canadians. We spoke to Global News’ Shauna Rempel about the important role of social media in the investigation.

I was curious to hear about the social media perspective behind the project, since you won the DPA award for Best Social Storytelling. Can you tell me about your role working on social?

I’m the national managing editor for social media and distribution, so I’m taking a look at it from more of a management perspective. I’m the editor for a lot of these things, but also assigning them to people on my team or attending the meetings for some of these bigger projects—attending the meetings and representing the social media team to give feedback as to how we want to approach it.

I was in months and months of meetings. This was quite a lengthy investigation and it involved not just Global News; it was a co-production with students from Ryerson and Concordia journalism schools, and of course the Toronto Star and a few other organizations.

Pretty much everyone on my team had some sort of part in the project, whether helping to create some of the graphics that went out on social media, or captioning the videos or distributing the videos, or adding to a Twitter thread, or moderating some of the comments and checking out the feedback that we were getting from the audience. It was a real group effort.

About how long did the project take to create?

The investigation was months in the making. On the social desk you tend to be involved more in the later stages of things. But Carolyn Jarvis, who was the lead journalist on this whole project, she’s very good at getting everyone involved. So I was getting regular updates from her.

But it was more in September that things started to really ramp up and we looked at all the elements—and there was a lot of video, a lot of images, just a lot of material to go through, and figure out what was going to work for what platform. We did it in three stages. That was the first time we did it in this way, and it’s actually become the template for all of our big rollouts for our big projects. All of our social rollouts now have some version of this template.

We did a pre-social treatment to try and get people excited and interested in it. And then when all the elements were coming out, different stories, different aspects of it, we were sharing it and sometimes re-sharing it the day it was published. Then afterwards we were doing more of a look back. It was being discussed by politicians; there was some fallout from it. So that provided opportunities to not only share the latest elements, but to say, “Now this has happened, as a result of this investigation.” To also share, “In case you missed it, here’s the full documentary again, here’s our main post about it.”

I was curious about the response you saw on social media after the initial push.

There was a lot of discussion amongst the opposition party, and Ontario’s environmental watchdog, who had condemned the fact that there was this population living so close to these known polluters and nothing seemed to be happening. It did lead to, in the aftermath, proposals for new standards to control air pollution. And we did a follow-up, about a year later. Some things had changed, but actually not a whole lot, in a year’s time since we did the initial investigation.

What kind of responses did you get from members of the public?

We had a lot of people discussing it, coming out in one way or another. There was a lot of sympathy amongst the viewers, I think, especially those who were watching the videos. We got messages to that effect. Some of it was people wondering why people were living in that area in the first place, and that started a good conversation, because then you would actually have other people weighing in on, well, maybe they grew up there, that sort of thing. Or, why shouldn’t they live there?

There was a good discussion in that regard, which is what we want. We want a talker. We like it when there’s actually more of a nuanced discussion instead of everyone sort of having a straightforward answer to it. We had over a million, 1.3 million views on the videos that we posted to Facebook, so that was a good indicator to us, too, that people were watching, that they were consuming it on social media.

People were weighing in and talking about pollution where they lived, and their concerns, as well. Folks were either sharing their own stories or comparing it; saying that they too had concerns about pollution, or they were happy to be living somewhere where things were better monitored.

We want this to be something that people can relate to. The videos, the images that we chose—we really wanted this to be something that people could relate to. The idea that someone’s young son got cancer and died after a very short battle with cancer, that’s something that goes beyond any particular city. That’s a universal experience that people could relate to, just the grief of losing a child so suddenly to cancer. That’s the sort of thing we’re trying to tap into, really tapping into the universal themes and the emotion behind it; while also, of course, we’re presenting the facts.

It was a lengthy investigation and there was lots and lots of information. But when sharing it with a social audience you really want to make sure you’re getting the attention, not just with facts and figures but also with people, with human emotion and human experience.

What sort of considerations you have to take into account—if you’re making this for broadcast, how will it work if you’re putting part of it on Facebook, or putting it on YouTube? Is that something that comes into play during the production?

For the documentary itself, it was really more with broadcast in mind. It was more when we were doing the shorter clips that we were really thinking about which ones would work best for a social audience. Our YouTube channel is quite strong, but we weren’t completely sure how many views we would be getting on YouTube. So I think the primary focus for that element was going to be for broadcast first and then seeing what we could put in, either extended interviews or various clips that we could do for a social audience.

You mentioned the social process you used for this has become the template you’re using for future stories.

We don’t call it the Toxic Secret template, but we have found this was a good way of approaching anything. Not just our investigative stories, but if we had, let’s say a weeklong feature series that we’re rolling out, we’ve done this for several since then.

We’ve done this pretty much every time we have a major project that’s being published. We always do something ahead of time to tease it with content, to actually give people a bit of a fuller taste of it. And then of course the rolling out throughout the week, or as we have updates, and then trying to do more of a wrap-up, a look back on it. It can take various forms, it depends on the project and the elements. It’s not always a cookie cutter thing, one size fits all. That’s why I say it’s a template, but we do vary it, depending on what we’ve got and what’s available when and where the story leads us to.

Another example is #FirstTimeIWasCalled—this project was very social-focused, we were asking public figures and also the public to share their first brushes with discrimination. All stemming from a story that one of our anchors had about the first time she was called a slur, the first time she was judged by her skin colour. We found we had so much reaction to that that our wrap up just kind of kept going and going because we couldn’t fit it all. We would do one story wrapping up social media reactions, and then we’d send that out on our social channels, and then it would bring in more reactions so we would end up doing another round of it. That’s a great problem to have.

Or sometimes with this Toxic Secret project, we were getting a lot of reactions from politicians. There was a pledge that new standards for air pollution were going to be developed and released. So that gave us something more, something new to report on.

Do you find that there are certain stories, maybe like this one for example, that are more suited to social?

We do find that with the stories that immediately elicit a reaction, and that does tend to be ones that are people-focused, rather than ones that are focused on policy or process. Of course those are important stories as well.

But we do always want to get to the person involved and try to play them up big on social media. So I’m often the one saying—and everyone else has this instinct as well—if we don’t have a photo of someone who’s been interviewed for the story, then we have a problem. We make sure we have a photo of someone, if they’re telling their story, we make sure we play that up on the social media channels. So that people can relate to that person.

Is there anything else you’d like to share about the project?

I would reiterate that it was really a group effort, there were a lot of hands involved with it, and so I’m very pleased that it was recognized in this way. You don’t do any of these things for the awards, you don’t do it for the rewards, but it is nice to see hard work being recognized in this way.

I’m very happy that an award like this exists, because the social media aspect of things has become so ingrained in everything that we do; every aspect of our lives, every aspect of every industry, but especially in the media industry. But it almost gets taken as a given. There’s not always a lot of thought or understanding into what actually is involved with making the things that appear in your Facebook newsfeed or show up on Twitter or pop up in your Instagram feed. So it’s nice to see that work, which is largely behind the scenes, get recognized.

That’s so true. Do you think that social media will continue to be a major part of your work at Global, and continue to be a crucial component of sharing stories?

I do. I think that algorithms come and go, and there’s always some new flavour of the week that might appear on social media, and maybe some folks will shut down their accounts in protest—we’ve definitely weathered some storms when it comes to social media—but I really think it’s so ingrained. I think more these days of social media as just one of many distribution channels. It’s another way that people consume our content and learn about the world. I don’t think that’ll ever go away. It can evolve and change, and it should, because that’s what it’s been doing up until now. But I think it’s still going to be a very vital, very important part of what we do, of how we tell stories.

Interview conducted by Jill Blackmore Evans.

Finalists for the 4th Annual Digital Publishing Awards will be announced on May 2, 2019. Follow us on Twitter for the most up-to-date news.