lloyd & guzzo - chap.5-6-7
TRANSCRIPT
“I learned about writing while you’re reporting. In other words thinking about how you write the story while you report it. - Leonora LaPeter, ASNE
(pp. 75-76)
“Basically, the second I got to the courthouse every morning, I was
looking for my lead. I would be looking for details. I would be looking for
quotes. I’d be thinking about transition. I would also be looking for the structure
of my story.”
- Leonora LaPeter
“I’m already writing while I’m reporting. If I hear a
great quote, I’ll flag that in my notebook. I might considering that for a
kicker [to end the story]. I’ll be thinking of a transition.
”
- Diedtra Henderson
“Editing is writing. If I have the time, I will spend as much time on editing as writing.”
- Tina Griego – Rocky Mountain News
importance of editing
“I’ll print out my story. I can see things on the printout that I don’t see on the single screen. Inevitably, I’ll see more that way, things that I can change.”
- Tina Griego
off the screen – onto the paper
“I always read aloud to myself when I finish the piece, which makes me look a little crazy in the
newsroom.”
- Anna Quindlin – NY Times Pulitzer-Prize winner
the mumble method
“Reading your stories out loud – though your colleagues might
think you’re a little nuts; you can murmur – it’s amazing. When you put it down in writing, it
feels so good. But when you actually speak it, it’s not so
pretty.”
- Tina Griego – reporter
more mumble method
ALL WRITING
IS
REWRITING
Remember…
“Writing anything can involve such a huge effort that
many people feel they can't face the redraft. And yet without the redraft, have we really written anything at all? Professional writers talk a great deal about the number of drafts they have
gone through. But this doesn't mean they have started all over again.”
- Novelist Miriam Halahmy
On Rewriting…
“I found that when 1,000 [words]
became 730, good almost always
became better.”
- Anna Quindlen – NY Times
On Rewriting…
“The lede must express the theme of the story. This is done directly in the case of an inverted-
pyramid lede. This may be done more indirectly
with a compelling anecdote that showcases
the person or situation that illustrates the heart
of the story.”
(p. 77)
The Lede
“The paragraph that provides context, significance and a
convincing case why this story must be
read now. The nut graf ought to appear by the fourth paragraph, or, if later, always before the story jumps to another
page.”
(p. 77)
the nut graf
“Most news-writing advice focuses on ledes…the nut graf is nearly as
critical. This is the place where the story’s
urgency and broader implications become
clear. This is the place where writers make the case for their stories.”
(p. 81)
Importance of the Nut Graf
“Do your best to master the subject, so you are not at the mercy of the person you are interviewing.”
- Bill Marimow(p. 95)
1. Know your subjects
2. Outline key questions
3. Have a backup plan
(p. 97)
• Celebrity• Ego• My side of the story• Agenda• Conscience• Accuracy• Obligation
• Be honest • Be respectful• Interview face-to-face when possible• interview subjects on their own turf when practical
• Listen with great care and concentration
• Resist the temptation to begin with the thorniest, most difficult questions – use “icebreakers” • Let silence happen – don’t rush – let your subject finish each sentence – and then pause an extra second or two before asking the next question
• Not for attribution – may quote source, but not by name or in any other way that identifies him/her.
• off the record - neither information nor identity may be used in story, but information may be used to assist further reporting (as an anonymous “tip”)
• on background – information and identity of source confidential. Information cannot be used to assist further reporting.
“Our tendency is to use a lot of quotes. If we use them sparingly, they really have a punch, and more significance.”
- Tina Griego(p. 113)
Eyewitnesses Vivid conversations Momentous statements (often from speeches) by famous people Authorities Stakeholders The accused or criticized Those whose comments add context , color, or detail Opinion and insight of others (with attribution)
propel the reader through the story
be authoritative offer the reader a voice different than the author’s illuminate, not confuse
breathe life into stories
(p. 115).
Clear
Non-bureaucratic
Authoritative
Character
Emotion
Variety of Voice
(pp. 119).
is confusing
contains lots of academic, technical, or bureaucratic language
contains general encyclopedic knowledge
is merely “yes” or “no”
(p. 119)
Quote speakers by name, and by title or role in the story
Most often, quote in the past tense, i.e. “he said,” “they said,” “she said.”
contains general encyclopedic knowledge
“Smith said,” NOT “said Smith” You wouldn’t SAY “said Smith,” so don’t write it
(p. 120)
When a quote continues to the next graf(s), leave the end quotation mark off of all except the final graf.
Don’t put your word’s in other speakers’ mouths, e.g., asking if they agree with something, then printing the agreement as a quote.
QUOTE EXACTLY – “Treat the real estate between quotation marks as sacred ground” (bfb).
“Do not quote what you know is untrue, unless it is important to show that the person is lying or uniformed – and you are prepared to prove it, immediately” (L&G) (p. 125)
“He wrapped himself in quotations – as a beggar would enfold himself in the purple of Emperors.”- Rudyard Kipling “Many Inventions” (1893)