Journalist Spotlight | Interview with Clair Weaver, Head of Factual at SCA LiSTNR

Today, Medianet is excited to feature Clair Weaver, the Head of Factual at SCA. Clair brings a wealth of experience in media and journalism, offering insights into her dynamic role at SCA LiSTNR. In this conversation, she reflects on her journey from reporter to editor, shares the challenges of transitioning between different media formats, gives advice for the public relations professionals about pitching and discusses the evolving landscape of journalism in the age of AI. Join us as we explore Clair's unique perspective on storytelling across various platforms.

Hi Clair! Can you share how you began your journalism career and what it was like transitioning from a Reporter to an Editor?

My start as a journalist was unorthodox. I was studying journalism by distance learning while working as a flight attendant in London when I landed a casual gig writing for the airline’s in-house newspaper, covering stories on staff doing everything from delivering babies and handling medical emergencies to choosing wines at altitude. That was 25 years ago.

Transitioning from reporter to editor was a natural progression, you’re still doing journalism but taking more of an overview and helping others.

You’ve worked for various publications throughout your career. What are the biggest differences you've noticed in content planning and production across different media outlets?

You’re right, I’ve worked in many places and the biggest differences in planning and production relate to lead times.

At the London Evening Standard, where I worked as a reporter from 2002 to 2004, we had five print editions a day and it was a 24-hour operation, powered by a highly organised desk of news editors responsible for planning, managing reporters and bringing stories to fruition by deadlines and getting the right balance of content. It was high-pressure and I learned a lot there.

Similarly, at 9 News Sydney’s 6pm bulletin, where I worked from 2016 to 2022, the team works off a rundown which lists each story in order that it will play out. The rundown changes throughout the day as news breaks and developments happen. The production team liaises with news crews on the road, the graphics department and editors to get the stories ready in time. It’s dynamic, fast-paced and collaborative.

In contrast, the longest lead times I’ve had were in monthly magazines, like Madison and the Australian Women’s Weekly, where I worked from 2010 to 2016. Here the teams would plan editions weeks and months ahead via a storyboard wall, which allowed for a highly curated and polished mix of news features and lifestyle content. As a journalist, you have the luxury of time to investigate and explore stories in more depth.

What are your day-to-day responsibilities as Head of Factual at SCA, and how does this role differ from traditional editorial positions?

This is a management role so for the first time in my career, I’m not doing any journalism myself, and that’s actually key to being able to stay across everything.

My main day-to-day responsibility is managing our Factual teams, who make a range of documentary, crime and news podcasts. These include our Secrets We Keep documentary series, expert crime show Crime Insiders and our daily national news podcast The Briefing.

I collaborate with other departments within the business, such as digital, sound design, legal, sales and operations, and report to the executive head at LiSTNR podcasts. I’ve also been meeting with my counterparts in entertainment and sport, who are great at sharing ideas and ways to work together.

What are some challenges in moving into Broadcast Journalism/Media (from a more traditional, written reportage)? How have you navigated this move to a different medium and do you find that you have a preference for one over the other?

That’s a good question. The main challenge for me was shifting my primary focus from the written word to visual and audio. In print, you could break a big story without necessarily having strong visual or audio assets to accompany them. When I first started in TV, I’d pitch stories that I knew to be strong but they wouldn’t get across the line because there was nothing to illustrate them. I learned you write to the pictures rather than the other way around. It’s a similar lesson in podcasting—be led by the audio and get everything on tape. Sometimes scripts look great in writing but don’t work when they’re voiced.

I’ve navigated the moves by listening to and learning from more experienced colleagues who have been generous with advice wherever I have worked. I truly love all forms of journalism but my personal preference as a consumer is podcasts so I feel really privileged to have the opportunity to work in this medium at LiSTNR.

Have you received any memorable pitches lately? What advice do you have for PR professionals and writers pitching their stories?

I have received a series of memorable pitches in the past few months from journalists who are passionate about making their stories into podcasts. I can’t tell you any more than that at this point!

My advice to PR and writers is to research the place you’re pitching to first so you have some understanding of what they publish, what they’re looking for and whether what you’re offering would be a good fit. Also make sure you’re pitching to the right person.

Final question, how has AI impacted the factual verification process in journalism? Have you used AI personally and how do you think it will impact dis/mis/information in the media?

AI can certainly help with verification, such as through digital tools that assist with finding information such as location, images, identities and clues, and detecting misinformation. I’ve used AI personally and while it’s helpful for some tasks, I don’t think we’re at a stage yet where it’s reliable or accurate enough to depend upon.

And as we know, AI can unfortunately be harnessed to exacerbate and spread disinformation and misinformation. So I’d suggest having human oversight is key to keeping AI on track when used for journalistic purposes at this point in time.

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