“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)