And language is very important when I went to Cairo in 1995 I had two base of advice from editors one the outgoing foreigner just said, you don’t need to study Arabic anyone you if you speak to, if you want to speak to speaks English anyway, first of all the incoming foreign editor had a different view and I think that [IB] actually reflects some of the insular nature of United States and foreign correspondence before 9/11.

Good point on investigations. I didn’t mean to say that we don’t want to do long foreign stories or keep investigations, we’ve continued to do that and we need to do that all the time we’ve been doing that and looking at the operations of [IB] bank in Afghanistan and looking at the way US money is spent, and has been wasted in Afghanistan and Pakistan and Iraq. Have some broader projects under way as well others always. But there’s always a balance and I think there have been times when all these organizations get a little bit out of balance and sometimes begin to define the merit of a story according to how long it takes to produce it and how many column inches are devoted to it and neither of those is the best merit of a story we’re trying to reproduce for our reader, which is part of what the conversations with correspondence are about. I very much believe that you do make this service to a reader and a correspondence to just tell the correspondent, you decide you are our eyes and ears out there you tell us what you want. You want your correspondent to be the eyes and years but you also want to get a couple of more brands involved in this story. That you want to talk about what it is that they are saying that you also want to be sure that they are aware and understanding what readers want to know, what the questions are the best conversations are when you marry those two perspectives and produce a story that gets at the ground truth and answers the questions that your readers need to have answered.

Raju: Just to add to that, while we have a significant effort of like trying to bring keep our costs down, a large part of that has been kind of figuring out can we take out some repetitive tasks and we put in a better editing system? Can we not have a lot of duplication of work to try to preserve as much as possible the money that we spend on reporting? Sure I mean if you went to ten trips for something chances are that you probably make six trips. But its still driven by a great story and idea. If somebody comes and says that here is a story and there is a proposal, almost never even in these tough years have we said for money reasons don’t do that story. So that’s still not been the case I mean the project that Doug talked about was Top Secret America, which literary took two years I would hate to have all my projects take that long, but there are not that many news organizations in the last decade that have given that kind of time and resources to kind of say lets go do that because that’s important for us to do as an organization, and its important for our audiences. So we’ve spent a year, a year and a half covering the Mexican drug wars in a very intense way, and you know didn’t necessarily have to do it but it was a great story and we felt like we were the best of telling it. And we continued to tell that story we don’t kind of drop the ball and move on to the next one now the, you know last year’s [Pulitzer] season is over so.