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As such, there is no simple remedy. When Relotius wrote that the small town has "three churches, two hunting clubs and a Main Street that stretches for miles between dilapidated low-rise buildings," that could also be reviewed thanks to the possibilities offered by the internet.

That work is based on the fundamental trust the editorial staff bestows on all journalists under their oversight. But the department also assists with reporting, providing information and details while also seeking to prevent mistakes.

Ultimately, the department is also working to put out the same product. The idea that a colleague would deliberately cheat is not part of everyday considerations in journalism.

The honest effort to seek truth and veracity is the rule. Cheating is the exception. Last Thursday, Relotius said that "At Home in Hell," the story of a terrible reform school in which children were tortured for many years, was a reported story, a clean work of journalism based on interviews with the victims and contemporaneous witnesses and visits to the site.

The article is a political profile of gynecologist Willie Parker, the last doctor to perform abortions in the U. How can we be sure that there is only one abortion doctor left in the state of Mississippi?

Or that the doctor had previously been anti-abortion and had completely reversed course? Ambiguities become apparent just as soon as you start looking for them.

It is an element of the fundamental nature of humankind to be shockingly generous with truth and probability as long as there is no obvious reason for doubt.

Our willingness to consider even the most incredible stories to be true, as long as they seem at least plausible, is almost boundless.

His own misery will now increase immeasurably because no one is going to believe a single word from him ever again. Relotius often incorporated songs and their lyrics in his stories, and the scenes in which they appear are often remarkable for their fascinating perfection.

Convicts standing in washrooms suddenly begin to sing a pop song, or a lost child walks down a dark street singing a sad song.

The writing feels cinematic, a quality that is frequently cited in award ceremonies for journalists. Relotius, too, had been told the same thing over and over again about his articles.

In contrast to the cinema, though, everything in journalism has to be accurate from the beginning to the end. But is this also true when CD players are playing quietly?

Or if a radio is playing somewhere with a song that fits the story? As an editor and section head, your first reaction when receiving stories like this is to be pleased, not suspicious.

And Relotius always delivered excellent stories that required little editing and were very rewarding. Relotius was a particularly valuable employee.

It was a format that suited him. His sense of humor and quickness made him an excellent fit. Born in , he was pleasantly different from many of his peers, who often come to DER SPIEGEL as interns, armed with good ideas and strong opinions, especially about their own abilities.

He was paid by the story, and he made decent money. Soon, he began receiving a decent guaranteed base pay -- and he delivered. He contributed to stories written together by several journalists in the section, he wrote smaller reports, reliably produced high-quality stories and was a quick learner.

He was open to ideas from others and implemented suggestions from his section editors. He also consulted with colleagues on his and their work and helped new interns get on their feet.

He was the sort of coworker you look forward to seeing in the office. From time to time, he would also land an amazing story, starting with "Number " in April , the gripping account of a Yemenite wrongly imprisoned in Guantanamo.

After 14 years of torture and solitary confinement, he was so broken that he no longer wanted to be released. It was the story of two orphans from Aleppo who ended up as child slaves in Turkey.

Relotius admits that "Number " contains some fabrications, but claims that "Royal Children" does not. But this is how "Royal Children" begins: Alin is singing as she walks.

In hindsight, it seems more obvious, but in the day-to-day of editing, it was obscured. After all, months would sometimes pass between the stories, making it challenging to identify such patterns.

In "Royal Children" the text continues: Alin is singing as she walks, a hopeful song about two children with little to hope for -- two children who had experienced the worst, but who were to be saved nonetheless.

Some might find the writing beautiful, others kitschy. But Relotius took the picture of the girl Alin himself and he was alone with her, without photographers.

Relotius accompanied the girl to her basement sewing workshop, as if it were the kind of place you could simply walk in and out of.

He descended the steps -- 15 steps, he writes, because Relotius had learned that precise numbers make your writing seem more credible -- into the basement with her, a basement that stank of sweat.

Maybe it did happen that way. Perhaps Relotius accompanied not only the one child but also the other, perhaps the girl sang a song and said everything he claims she said, so that he could write it down and report it with a clear conscience.

But how can anyone believe him? After all, he has admitted that his tale of the inner transformation of Guantanamo prisoner Mohammed Bwasir is a complete fabrication.

In fact, he stated very clearly at the beginning of the Guantanamo story: But how much access did Relotius have?

What papers was he actually familiar with? How closely did the lawyer cooperate with him? He summarized the letters and wrote as though he had a comprehensive overview of the entire bundle: What does Relotius know about the beginning, the middle or the end of a period of time extending over 14 years?

It told of how Islamic State had abducted two brothers, ages 12 and 13, brainwashed them, and dispatched them to Kirkuk as suicide bombers.

In stories like these, the present is consolidated into a readable format, vast lines of contemporary history become tangible, and suddenly the big picture is painted on a very human scale.

Reporters who have this kind of material, and a talent for dramaturgy, can spin gold out of it like in a fairytale. Relotius has this talent.

But he invented the material. He wrote one of the best stories published in recent years, a masterpiece.

Claas Relotius blinded everyone: Editors-in-chief, department heads, fact checkers, other editors, students of journalism and his own friends.

Jury members from all walks of life -- bishops and entrepreneurs, human rights activists and media representatives, politicians and patrons of the arts -- were ecstatic about his work.

And with good reason: His stories were often awe-inspiring and engrossing. But in "Lion Boys" he put long conversations in the mouth of the would-be suicide bomber Nadim -- a person who apparently exists, but with whom Relotius was never able to speak at length.

Relotius quoted him reciting verses from the Koran that his IS captors allegedly drummed into his head. The figure of the physician, upon which much of the story is based, never existed.

And the text says the following about the excerpts from the Koran: He sits in his cell and repeats them one after the other, the way shy children recite poems, staring at the floor, breathless.

Surah 9, verse The idea behind the article came from editors in Hamburg, with the goal of going beyond merely excoriating from on high the first few months of U.

The plan was for Relotius to rent an apartment in Fergus Falls, meet people, listen to what they had to say, and produce a snapshot that would allow readers to gain a slightly better understanding of the Americans.

He found himself in a situation that every reporter is familiar with: In cases like this, quick decisions are necessary: Abort the story or continue?

Give it another go or drop it? Look for a new angle or return home? No staff member -- especially not one that had published the kind of stories Relotius had -- has to worry about getting into hot water for failing to bring home a story.

All journalists know that these kinds of things happen, that some lines of reporting lead to dead ends, that good material does not always make for good stories, and sometimes money is burned up that could have been put to better use.

Those are the risks involved. Relotius simply refused to accept those realities. You make a fabrication. In his story about Fergus Falls, Relotius bent and twisted reality in a repugnant and arrogant manner.

To ensure a gripping lead, he wrote that next to the welcome sign at the edge of town, there was also a second sign -- "half as tall, but almost impossible to overlook.

But he passed on his creation as fact to hundreds of thousands of readers -- and insulted the inhabitants of Fergus Falls in the process.

Relotius gave the inhabitants of Fergus Falls made-up biographies to suit his needs, as if he were a puppeteer. He invented grotesque lies and reported, for example, that the students at the John F.

Kennedy high school drew their role models for the American dream as follows: Most of them drew Donald Trump. Every single bit is concocted bunk. Does Relotius ultimately believe in his own creations?

He knows that he fabricated stories and deceived his readers, he says -- and to do so in this day and age, someone like him has the largest imaginable toolbox at his disposal.

Relotius arranged this material, grouped it according to a topic or around a central figure, and he traveled to the locations, sometimes met people, however briefly, and all of these elements became colors, like the palette of a painter, which he used to paint his image of life.

But if the premise of the story itself already sounds fictitious, what about the details within? Nothing has yet been proven with regard to this story, but more investigation is clearly needed.

Meanwhile, there are findings that make it appear that the DER SPIEGEL story about Colin Kaepernick -- the football star who knelt during the national anthem to protest daily racism in America and ended up without a job -- was largely fabricated.

Relotius was unable to get an interview with him. Finally -- at times crying, at times laughing -- the mother told his story.

But it never took place. Earlier, during the same conversation, he had still maintained that the opposite was true. It was a superbly gripping piece about an American woman who serves as a witness to executions because the law requires the presence of ordinary citizens.

The woman is in favor of the death penalty, so she sees it as her duty to support the state on this issue. To flesh out the story, Relotius ascribed her with dramatic personal experiences that further explained her actions.

Relotius accompanied her, he claims, throughout the entire story, always right at her side. She locks the door, turns the key three times, then walks through the empty streets to the bus station.

Relotius gave her the name Gayle Gladdis.

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But he invented the material. He wrote one of the best stories published in recent years, a masterpiece. Claas Relotius blinded everyone: Editors-in-chief, department heads, fact checkers, other editors, students of journalism and his own friends.

Jury members from all walks of life -- bishops and entrepreneurs, human rights activists and media representatives, politicians and patrons of the arts -- were ecstatic about his work.

And with good reason: His stories were often awe-inspiring and engrossing. But in "Lion Boys" he put long conversations in the mouth of the would-be suicide bomber Nadim -- a person who apparently exists, but with whom Relotius was never able to speak at length.

Relotius quoted him reciting verses from the Koran that his IS captors allegedly drummed into his head. The figure of the physician, upon which much of the story is based, never existed.

And the text says the following about the excerpts from the Koran: He sits in his cell and repeats them one after the other, the way shy children recite poems, staring at the floor, breathless.

Surah 9, verse The idea behind the article came from editors in Hamburg, with the goal of going beyond merely excoriating from on high the first few months of U.

The plan was for Relotius to rent an apartment in Fergus Falls, meet people, listen to what they had to say, and produce a snapshot that would allow readers to gain a slightly better understanding of the Americans.

He found himself in a situation that every reporter is familiar with: In cases like this, quick decisions are necessary: Abort the story or continue?

Give it another go or drop it? Look for a new angle or return home? No staff member -- especially not one that had published the kind of stories Relotius had -- has to worry about getting into hot water for failing to bring home a story.

All journalists know that these kinds of things happen, that some lines of reporting lead to dead ends, that good material does not always make for good stories, and sometimes money is burned up that could have been put to better use.

Those are the risks involved. Relotius simply refused to accept those realities. You make a fabrication. In his story about Fergus Falls, Relotius bent and twisted reality in a repugnant and arrogant manner.

To ensure a gripping lead, he wrote that next to the welcome sign at the edge of town, there was also a second sign -- "half as tall, but almost impossible to overlook.

But he passed on his creation as fact to hundreds of thousands of readers -- and insulted the inhabitants of Fergus Falls in the process. Relotius gave the inhabitants of Fergus Falls made-up biographies to suit his needs, as if he were a puppeteer.

He invented grotesque lies and reported, for example, that the students at the John F. Kennedy high school drew their role models for the American dream as follows: Most of them drew Donald Trump.

Every single bit is concocted bunk. Does Relotius ultimately believe in his own creations? He knows that he fabricated stories and deceived his readers, he says -- and to do so in this day and age, someone like him has the largest imaginable toolbox at his disposal.

Relotius arranged this material, grouped it according to a topic or around a central figure, and he traveled to the locations, sometimes met people, however briefly, and all of these elements became colors, like the palette of a painter, which he used to paint his image of life.

But if the premise of the story itself already sounds fictitious, what about the details within? Nothing has yet been proven with regard to this story, but more investigation is clearly needed.

Meanwhile, there are findings that make it appear that the DER SPIEGEL story about Colin Kaepernick -- the football star who knelt during the national anthem to protest daily racism in America and ended up without a job -- was largely fabricated.

Relotius was unable to get an interview with him. Finally -- at times crying, at times laughing -- the mother told his story. But it never took place.

Earlier, during the same conversation, he had still maintained that the opposite was true. It was a superbly gripping piece about an American woman who serves as a witness to executions because the law requires the presence of ordinary citizens.

The woman is in favor of the death penalty, so she sees it as her duty to support the state on this issue. To flesh out the story, Relotius ascribed her with dramatic personal experiences that further explained her actions.

Relotius accompanied her, he claims, throughout the entire story, always right at her side. She locks the door, turns the key three times, then walks through the empty streets to the bus station.

Relotius gave her the name Gayle Gladdis. She says that she often feels nauseous on long bus rides. She opens to Leviticus, chapter 24, where it says: It all fits perfectly.

Claas Relotius never accompanied a woman to executions in America. He never traveled by bus with her, and he never paged through Leviticus with her.

Even for someone in his league, that must be some kind of a record. Did things get worse over time? He describes a mechanism that would kick in ever since he began working as a journalist.

In light of the latest revelations, one would be justified in doubting this claim. Then, he says, he would write made-up sentences and leave them in his stories, adding that he personally sometimes found them so brazen and ridiculous that he said to himself while writing: Has he also enjoyed producing the fabrications of these past few years?

Does he take delight in a successful lead, a captivating scene or a detail when everything was, well, fabricated? Relotius shook his head in response to such questions last Thursday.

Something is wrong with him, says Claas Relotius, and he now needs to work on that. It is difficult to separate fact from fiction, it is difficult to determine who Relotius was actually in contact with, how often and how intensively, how their interactions were translated, and how all the mobile phone connections mentioned in the story were even technically possible.

He admits that the mobile phone tour of the destroyed city never happened. He admits that the composition of the story, with narrative passages alternating with apparent interview transcripts, is falsified in the sense that the material he gathered did not include that many direct quotations from the protagonist.

Relotius invented them, or fabricated them from very few quotations. On Thursday, he pointed out passages in the text that are fake, but without precision, instead gesturing at entire paragraphs.

One could spend a lot of time dwelling on the before and after, but what really matters is the outcome: It is Juan Moreno who, against all odds, never let up, continued reporting, pressed ahead, and believed in his facts.

In the course of the reporting, with Claas Relotius in the United States and Juan Moreno traveling on the Mexican side of the border, many disagreements arose, which subsequently contributed to the fact that the accusations leveled by Moreno were not taken more seriously and clarified more quickly.

Relotius also became more energetic in November with his cover-up efforts. He messed around with emails and sent misleading screenshots of Facebook pages.

Ultimately, though, he would be crushed by the evidence that Moreno had gathered against him. But then the problems started looking much more significant, such as the fact that much of what Relotius wrote about the days he spent with a militia bore a strong resemblance to a long story written by investigative reporter Shane Bauer for the magazine Mother Jones.

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