Telling True Stories: Part IX:

source: youtube.com

source: youtube.com

Jim Collins

Freelancing as a narrative writer hasn’t ever been an easy way to earn a living, and recent changes in the magazine industry have made it even tougher… Magazines that depend on subscriptions can no longer compete with those relying on advertising income… While getting started as a freelancer, you must spend as much time pitching stories (and accepting rejection) as you do writing them…

 

The idea of being a freelancer, seems to be an exciting idea for a journalist to write about what he wants, take the time he needs to report, and move between different new organizations and publications. I always think of a reporter who travels the world and write as much as he wants, whenever I think about a freelancer. I know this is not what happens in reality, but it sounds like a great life to me. However, I believe that for a great journalist to have such a life, they must work hard first, follow the rules and work for a known organization where he can build his career and name.

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Telling True Stories: Part VII:

Source: bu.edu,  By: Vernon Doucette

Source: bu.edu,
By: Vernon Doucette

Emily Heistand: On Style:
  1. Embody ideas in the nature of language: Language is not a conveyor belt trundling a cargo of something else called “the idea” but is itself integral to the idea. Poets— those pure research scientists in the laboratory of language— might say that language is entirely the idea. But even in prose, whatever else our words mean to convey, the nature of the language is itself a mighty signal.
  2. Restore worn-out words: The most current meanings of words only skim the surface; as any time with the Oxford English Dictionary reveals, each word is a house of history.
  3. Take an art class: Much of what artists learn in school is how to see: how to look at the world free of the abstracting preconceptions and the myriad simplifications that we form in order to navigate life.
  4.  

  5. Use concrete detail: The mind develops in response to sensory experience and because our intelligence is so multifaceted.
  6. Compose the pace: The pace can be in alignment with the subject— moving glacially for the slowed-down time of grief— or can counter the subject.
  7. Experiment with form: Perhaps narrative is at once daring and humble in the way that science is— offering provisional truths, saying in essence: This is the best story we can tell now, based on limited knowledge.
  8. Cultivate your own style: “You don’t just go out and pick a style off a tree one day. “The tree is already inside you. It is growing naturally inside you.” – Dexter Gordon.

Telling True Stories: Part VI:

Source: youtube.com

Source: youtube.com

Roy Peter Clark

The Line Between Fact and Fiction:

The line between fact and fiction in America, between what is real and made up, is blurring. The move in journalism toward infotainment invites just such confusion, as news becomes entertainment and entertainment becomes news. Deals in which editor Tina Brown joins the forces of a news company, Hearst, with a movie studio, Miramax, to create a magazine that would blend reporting and script writing are only the latest headlines signaling the blending of cultures. . . 

Tom Rosenstiel, of the Pew Project for Excellence in Journalism.

Basic principles to help journalists navigate the waters between fact and fiction- by Clark:

  • Don’t add, Don’t Deceive.
  • Be unobtrusive.
  • Avoid using anonymous sources.
  • Never put something in your story that hasn’t been checked out.

Though this is a work of nonfiction, I have taken certain storytelling liberties, particularly having to do with the time of events. Where the narrative strays from strict nonfiction, my intention has been to remain faithful to the characters and to the essential drift of events as they really happened.” John Berendt, Midnight in the Garden of Good and Evil.

Telling True Stories: Part V:

JoN FrAnKliN

Jon Franklin is a well-known pioneer in creative nonfiction. His books include: The Molecules of The Mind, Atheneum, (1987); Writing for Story, Atheneum, (1986); Guinea Pig Doctors, (With J. Sutherland) Morrow, (1984); Not Quite a Miracle, (w/ Alan Doelp), Doubleday, (1983); Shocktrauma, (w/ Alan Doelp), St. Martin’s Press, (1980).

Source: Amazon.com

Source: Amazon.com

“The Most Powerful Thing in Literature Can Do is Move People to Suspend Disbelief: Readers forget that they are on the train or at the doctor’s office or babysitting, and enter the story.”

Lessons Learned: “Character”…
  • Narrative writers need to tell readers how a character’s inner world stacks up against outside reality he or she faces.
  • If the writer thinks more deeply about character, especially the relationship between plot and character, the story becomes much richer.
  • No writer can capture a whole person; they chose just one facet of a person’s life.
  • A writer chooses what matters.
  • Information that explains motive goes into the piece, everything else stays out.
  • The Writer’s goal is to understand how the character looks at the world and understand the character’s responses to events.

Walt Harrington

Author, professor and a journalist. His books include: Next Wave(2012), The Everlasting Stream: A True Story of Rabbits, Guns, Friendship, and Family (2004), Intimate Journalism (1997), Slices of Life (2013) and At the Heart of It: Ordinary People, Extraordinary Lives (1996).

Source: waltharrington.com

Source: waltharrington.com

Details do hold meaning, but sometimes not the sort we expect. Tom Wolfe defined status details as the items around people that define their social circumstances. Such details make the subject’s interior world clearer to us.”

Telling True Stories: Part IV

DeNeen L. Brown:

To Begin The Beginning… The HARDEST THING about the beginning is the

BLANK SCREEN

The screen stares and the cursor blinks nothingness, taunting me. It says, “Ready, set, go! What are you going to write this time?” “I summon a voice strong enough to say, Sit down and listen to me.

Source: DeNeen Brown Twitter

Source: DeNeen Brown Twitter

Beginning to read a story should feel like embarking on a journey, starting toward a destination.” “Where would you begin if you were an omniscient narrator?

“Don’t just tell me what so-and-so said and what so-and-so felt. Tell me what so-and-so meant to say and why she said it, and what had brought her to this point in her life that would make her say it. He meant: Create multidimensional stories and characters.

“Go deep.”

“Each one of us has a storytelling voice deep inside. We’ve been listening to stories since we were knee -high, and we know how stories should be told.”


Jack Hart:

We are trained as journalists to describe action secondhand, through quotes and observation. Skilled narrative writers put the reader there and let her witness it, have the experience, feel it. That’s much more powerful than a secondhand version of reality.

source: brucedesilva.wordpress.com

source: brucedesilva.wordpress.com

Summary Vs. Dramatic Narratives

* The summary:
  • Provides the links between scenes, which are usually written in dramatic narrative.
  • Standard news stories are written in summary narrative.
* The Dramatic:
  • Is required in true storytelling.
  • Traditional journalists, because they have limited experience with dramatic narrative, often have a tough time distinguishing between the two. “

To sum up:

“You’re either in story, or you’re out of story.”

 

Telling True Stories III

Tomas Alex Tizon:


Is an American author and a Pulitzer Prize winner. He contributed to Newsweek and 60 Minutes. He was also the bureau chief of LA Times.
Writing a profile is documenting someone’s life. As unique as you believe your life is, others think the same way about their lives as well. I found his four points to consider interesting and gave me a new perspective and a new point of view when thinking about profiles.

  1. Your Subject is as COMPLICATED as You Are
  2. Your Subject Carries a BURDEN as Heavy as Yours
  3. Your Subject WANTS Something
  4. Your Subject is Living an EPIC STORY

Malcolm Gladwell:

“One reason I don’t write profiles of people is that I believe we are incapable of truly describing a person’s core… People are more complicated than our profiles of them reflect.” – The Limits of Profiles

“Though we are incapable of getting all of a person’s essence, I do believe we can get at pieces of someone’s personality. That’s enough!”

Melissa Fay Greene:


Has contributed to The New York Times Magazine, The New Yorker, The Atlantic, The Washington Post, Good Housekeeping, Readers Digest, Life, MS, Newsweek, The Wilson Quarterly, Parade, Redbook, Parenting, HuffingtonPost, Salon, TheDailyBeast, and CNN.com
She has five books:

“No one asked us to be keepers of the flame of history; we’ve taken it on ourselves. When we choose to write nonfiction, our first commitment is not to be readable or to educate or to curry favor with our readers. It is to be as accurate as possible.”


Telling True Stories Part 3:

There are various genres that journalists can follows to write their stories. It is important to follow the ethics and rules of journalism and to find your own style and your own voice.

Telling True Stories II

I am enjoying every page of this book. It is rich with its tips and advice, yet in a way that I did not find in other journalism books that I read during my study. With these brilliant and different writers, journalists and authors, I get a pleasant surprise of their ideas and writings in every article.

Source: ridgerunning.com

Source: ridgerunning.com

Jan Winburn

is a senior editor for enterprise at CNN digital. She is an award- winning writer who got:

  1. Pulitzer Prize for featuring writing.
  2. Ernie Pyle Award for Human Interest Writing
  3. ASNE Award for Non-Deadline Writing.

The editor’s questions that she emphasized in her article were useful and informative. However, two main questions drew my attention and interest, as I do not see them being used or implemented in many news organizations nowadays which make some stories half- told. Therefore, the truth is missing.

  • What truism is being presented in the news, and does heading in the opposite direction suggest a story?
  • Is there an untold background tale?

I remembered the conflict between the East and the West when I read these specific questions. I get the weirdest questions about how the Arabs thinks or feel about the West. Interestingly, all Western media promote certain stereotypes, which people never stop and think about. They just hear them, believe them and then act accordingly.
Following what I read in the articles, there were tips from different authors that reporters must go wherever the story takes them. This is how you know the truth and report it; by going to both sides and asking questions.
When you do not hear the other voice, you must know that this is not the truth and that you are missing something. Therefore, that is what I am aiming for, to go wherever the story takes me and fully report it. Not to allow biases, or to follow trends, gossips and stereotypes. That is what I owe to my profession, my readers and myself.

 

Source: outsideonline.com

Source: outsideonline.com

Ted Conover:

is an author and a journalist. “He writes about real people by living their own lives,” as he described himself on his blog.

 

 

Although it might seem extreme for some journalists, going as far as sending your self to prison might be required to get the truth. Not every reporter would need to do that, but depending on what you are covering, you should go wherever the action is. Get the story from its original sources no matter how long it takes you.

 

Telling True Stories I

Source:journalism.missouri.edu

Source:journalism.missouri.edu

Jacqui Banaszynski holds the Knight Chair in editing at the Missouri School of Journalism and she is an editing fellow at the Poynter Institute. She worked as a news editor and reporter for more than 30 years. She was a senior editor at The Oregonian, and an Associate Managing Editor at The Seattle Times. Some of her significant work are:

  • Her series “AIDS in the Heartland” – won the 1988 Pulitzer Prize in feature writing.
  • Her coverage of the Ethiopian famine – was a finalist for the 1986 Pulitzer in international reporting
  • Her coverage of the 1988 Olympics – won the nation’s top deadline reporting award.
  • 2008: She was named to the Feature Writers Hall of Fame.
Stories Matter:

I enjoyed the way she wrote this article. She wanted to make a point about the important of telling stories and she started her article with a story. The narration of the scenes, characters, sounds and events created a profile of that disaster in Ethiopia which will last forever for yet generations to come.

“Stories are for joining the past to the future. Stories are for those late hours in the night when you can’t remember how you got from where you were to where you are. Stories are for eternity, when memory is erased, when there is nothing to remember except the story.” Tim O’Brien – The Things They Carried

That is what I aim to do with my journalism study. I want to tell the truth of the events that happen in the world through my stories. I want to tell these stories with different voices and all parties involved to be represented even if I had to travel across the world to get their voices.



Source: randomhouse.com

Source: randomhouse.com

Gay Talese: worked for The New York Times for almost a decade and wrote for several publications including Esquire, The New Yorker, Newsweek and the Harper’s Magazine.
He wrote about eleven books. He is currently working on a book about marriage for Knopf.

 “With all of the qualities of the scene-setting, the dialogue, the place and time and the time and place in which your characters move. And I want to move with the characters, move with them and describe the world in which they are living.” – Gay Talese

Some of his famous books:

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“Gay Talese is known for his daring pursuit of “unreportable” stories, for his exhaustive research, and for his formally elegant style.” Barbara Lounsberry – roundhouse.com

Delving into Private Lives:

It is exciting to learn about great writers who did what no one else did, and yet they achieved what they wanted and got people’s admiration. Writing about people who no one writes about, or places that no one visits or topics that no one reports; unique branch of journalism. I learned two main points from this story:

  1. Go wherever the story takes you, and make sure that you get it from its original sources even if it took you to the other side of the world
  2. Do not follow the crowd, believe in what you like to write about and persue it even if you are the only person taking that path. Be Unique and Distinctive.


Source: content.time.com

Source: content.time.com

David Halberstam: was an American journalist and historian. He was famous for his coverage of the Vietnam War and the Civil Rights Movement, as well as other areas including business, media, culture and sports. He won a Pulitzer Prize in 1964. He died in a traffic accident in Menlo Park, California on April 23, 2007.

“Things are changing. Narrative nonfiction is on the rise , and I feel lucky to have spent more than fifty years doing it. I’ve been paid to learn, to ask questions, to think. What could be more enjoyable and more rewarding than that?”- David Halberstam.

The Narrative Idea:

His article had some of the advice that I used to hear since the first year in my journalism study. Nevertheless, his words held different meaning and perspective comparing to the work he did. I have always heard that the story idea is the most important element. A journalist must know what he wants to write about, and understand where he wants to go with the story. However, knowing the books he wrote, his ideas were extraordinary. Or perhaps his enthusiasm and willingness to pursue these ideas was extraordinary.

Some of his good advice:

  • “The writer must get better and better, become a better storyteller.”
  • “The idea is vital. Telling a good story demands a great conception, a great idea for why the story works— for what it is and how it connects to the human condition.”
  • “The more reporting you do, the more authority your voice has.”


Source: oregonlive.com

Source: oregonlive.com

Katherine Boo: is a staff writer at The New Yorker and a former reporter and editor for The Washington Post. She won several awards including:

  1. Pulitzer Prize.
  2. MacArthur “Genius” grant.
  3. National Magazine Award for Feature Writing.

One of her best books is “Behind the Beautiful Forevers” which was published in 2012.It won the following awards:

  • The National Book Award
  • The PEN/John Kenneth Galbraith Award
  • The Los Angeles Times Book Prize
  • The American Academy of Arts and Letters Award
  • The New York Public Library’s Helen Bernstein Book Award
  • Named one of the Ten Best Books of the year
  • Named of the Best Books of the year
  • New York Times Bestseller
Difficult Journalist That’s Slap-Up Fun:

I have learned from Mr. Halberstam that a journalist is a person who gets paid to learn more, ask more questions and think. Form this article by Katherine Boo, I learn to go around, observe, think and ask questions. Go to where no one else have been to. Ask questions that people and journalists never bother to ask. However, at the same time use narration to “engage the public, almost against its will, in crucial questions of meritocracy and social justice,” as Boo described.

“While reporting, you must lose control so you can accumulate the facts. While writing , you must exert maniacal control over those facts.”

“Listen to the questions people ask after you give them a two-sentence synopsis of your reporting day. In those questions and reactions you get closer to the most important ideas and arguments that you need to show in your scenes.”