One of the biggest issues faced by reporters trying to write a news story completely from scratch, is..."How do I structure it so that it makes sense?" In a four-minute news story, it may seem like a lot of time - but you'll quickly run out - if you don't follow a very simple rule: Make the story about ONE THING! Now, obviously, every story is going to have multiple facets - different voices, different points of view...but essentially, you want to keep to the main point of the story.
The next thing is: What order do I put my elements in to make them work? Now, story structure is a very personal thing - and some reporters seem to have a knack for it. One rule that I think makes sense is...don't do it the same way every time. So here are some options for you (realizing that an earlier rule also still applies...Lead with the news. Give us a reason why we're telling this story now. Preferably in the host intro):
1. Chronological. The story unfolds as a narrative, told from the beginning...and ends at either the end, or with the newest possible information.
2. Lead with the personal. This could be the story of the guy who's fighting the system...the emotional tale of the wronged individual...the citizen who's voice isn't being heard. Following this, you fave to find a way to bring in the voices of others who can bolster this story...and balance it from the other side.
3. Lead with the facts. If you give a factual basis for a story up front, it can help to explain its importance. But this can also be a boring lead. If our goal is to invite people in to listen, you'll want to lead with something compelling - so if you go with the facts first, it'd better be pretty interesting.
Throughout the course of the storytelling, you have to balance some concerns....don't lose the listener, don't present too much information at once, don't "ping-pong" back and forth between sources or ideas, don't open up a "can of worms" that you can't pay off later in the story.
The best structure is one that you can read aloud to someone (a friend or editor) and not feel like you're doing any of these things.
Sunday, February 27, 2011
Lesson: The Basic Rules Of Broadcast Writing
The world is filled with books about how to write...for print, for broadcast, and now for "new media." If you took everything I've read about writing for radio and television, and distilled it into a few simple rules, it'd be something like this:
1. Use short sentences. By breaking up long sentences into more manageable bites, reporters can get the point across more effectively. There's no chance of someone getting lost in a sentence, and failing to follow the main story points. It helps with pacing and rhythm, keeping listeners interested. Also, because so much of broadcast news writing is very condensed, short sentences allow you to easily restructure a story.
2. Be Conversational. The cliche (we'll deal with those later) is: "Tell a story like you're talking to your grandmother" or someone else in your family. That's the basic idea of conversational storytelling...but it's a bit simplistic. Obviously, newscasts are a more formalized style than sitting across the kitchen table...but the concept is the same. You're telling a story - not just reading words. Read your copy aloud to someone else...and you'll hear very quickly when you're not being conversational.
3. Use simple, powerful language. A broadcast news report is not the place to try out fancy words or obscure references. People only have one chance to hear your story...don't confuse them. Now, this doesn't mean you should communicate like a fifth grader. It does mean that you should always find the most direct, understandable, and descriptive language to convey your point.
4. Write in active, not passive language. Some people have trouble understanding active writing....here's a pretty simple example: "Somebody did something to someone else." That's in contrast to a passive construction, where "Somebody had something done to them by someone else." The problems with the passive? The sentence is longer by nature, violating a key rule. Also, there's a question over who the "actors" in the story are. Active writing helps us to establish attribution in the story very early on. Of course, as in all things, rules can be broken.
5. Get rid of unnecessary words. This is the editing process in action. Almost every news writer has to write fast and on deadline...and must meet strict story lengths. So, after you've written a nice news story, read it aloud - and start to pull out the words that don't need to be there. The extra adjective that isn't really descriptive; the redundancies; the long-winded titles of public officials; everything that doesn't serve the listener in understanding the story.
6. Avoid cliche. They're everywhere. You can't get away from cliches, especially when you're writing the news. Luckily, if you're following some of the other rules, you don't have to worry about using cliches. A "firestorm of controversy" isn't conversational...so don't use it. Calling people "inner city youth" isn't direct or descriptive - it's a cliche...so find a simpler way to say what you mean. Sometimes you can't avoid them...but I try to avoid cliches "like the plague."
Note: The links in this post are all taken from stories on poynter.org. Poynter is a great resource for journalists of all types. Click on the links, and you'll find yourself in some very interesting discussions of writing, journalism, ethics and broadcasting.
1. Use short sentences. By breaking up long sentences into more manageable bites, reporters can get the point across more effectively. There's no chance of someone getting lost in a sentence, and failing to follow the main story points. It helps with pacing and rhythm, keeping listeners interested. Also, because so much of broadcast news writing is very condensed, short sentences allow you to easily restructure a story.
2. Be Conversational. The cliche (we'll deal with those later) is: "Tell a story like you're talking to your grandmother" or someone else in your family. That's the basic idea of conversational storytelling...but it's a bit simplistic. Obviously, newscasts are a more formalized style than sitting across the kitchen table...but the concept is the same. You're telling a story - not just reading words. Read your copy aloud to someone else...and you'll hear very quickly when you're not being conversational.
3. Use simple, powerful language. A broadcast news report is not the place to try out fancy words or obscure references. People only have one chance to hear your story...don't confuse them. Now, this doesn't mean you should communicate like a fifth grader. It does mean that you should always find the most direct, understandable, and descriptive language to convey your point.
4. Write in active, not passive language. Some people have trouble understanding active writing....here's a pretty simple example: "Somebody did something to someone else." That's in contrast to a passive construction, where "Somebody had something done to them by someone else." The problems with the passive? The sentence is longer by nature, violating a key rule. Also, there's a question over who the "actors" in the story are. Active writing helps us to establish attribution in the story very early on. Of course, as in all things, rules can be broken.
5. Get rid of unnecessary words. This is the editing process in action. Almost every news writer has to write fast and on deadline...and must meet strict story lengths. So, after you've written a nice news story, read it aloud - and start to pull out the words that don't need to be there. The extra adjective that isn't really descriptive; the redundancies; the long-winded titles of public officials; everything that doesn't serve the listener in understanding the story.
6. Avoid cliche. They're everywhere. You can't get away from cliches, especially when you're writing the news. Luckily, if you're following some of the other rules, you don't have to worry about using cliches. A "firestorm of controversy" isn't conversational...so don't use it. Calling people "inner city youth" isn't direct or descriptive - it's a cliche...so find a simpler way to say what you mean. Sometimes you can't avoid them...but I try to avoid cliches "like the plague."
Note: The links in this post are all taken from stories on poynter.org. Poynter is a great resource for journalists of all types. Click on the links, and you'll find yourself in some very interesting discussions of writing, journalism, ethics and broadcasting.
Lesson: Newscast Writing
We're going to spend one class period doing the thing that radio hosts and reporters have spent years learning - turning newswire copy into newscasts. To get a sense of what we're talking about, let's first listen to the most recent NPR hourly newscast.
In this case, it's a five-minute newscast, that includes several "readers" (copy written for the host to read), along with "scripters" (host copy with sound bites) and "wraps" (packaged reporter stories, introduced by the host). We're focusing today on the newscasters' main roles:
1. Re-writing news copy for broadcast...or "for the ear."
2. Deciding which stories to include, and in what order.
The structure of these stories is usually pretty simple and straightforward, and we've talked about it before...
1. News first (what's the reason we're telling this story)
2. Background information (context)
3. Balance of information (getting all sides)
4. Conclusion (move it forward)
In this case, it's a five-minute newscast, that includes several "readers" (copy written for the host to read), along with "scripters" (host copy with sound bites) and "wraps" (packaged reporter stories, introduced by the host). We're focusing today on the newscasters' main roles:
1. Re-writing news copy for broadcast...or "for the ear."
2. Deciding which stories to include, and in what order.
The structure of these stories is usually pretty simple and straightforward, and we've talked about it before...
1. News first (what's the reason we're telling this story)
2. Background information (context)
3. Balance of information (getting all sides)
4. Conclusion (move it forward)
1. Punctuation: Sure, it's for broadcast, not print. But that doesn't mean punctuation isn't important. In fact, it might be more important. Emphasis and pacing matter when reading...so, "On the anniversary of the September eleventh attacks memorials were held..." is read differently than "On the anniversary of the September eleventh attacks, memorials were held..."
2. Spell it out: Here's one thing that is different than the AP print stylebook. You've got to write out words "September" not "Sept." Or, in a story about gas prices, "Two-seventy-seven" not "$2.77." "Triple-A" not "AAA." Imagine getting to that part of a script, and having to figure out how to say something...
3. Conversational writing can't be confusing. Some case studies:
"The names of victims could be heard from speakers that piped in the sound from the stone plaza where they were being read."
"The weather mixed in with the emotions of the memorial with tears streaming down many faces in remembrance."
"Bush does seem intent on placing conditions on reductions, insisting that conditions on the ground must warrant cuts and that now-unforseen events could change the plan."
In cases like this, the writer has violated multiple rules of broadcast writing. Sentences are too long, and they're using unnecessary words. Read these out loud to yourself or someone else...and you'll realize quickly what's wrong.
4. Tenses need to agree. "...attacks that killed nearly 3,000 people and impacting American'sand the world forever." Well, there's a few problems there...the number should be spelled out...and "American's" doesn't have an apostrophe...but the tense is the real problem. Pick one for the story, and stick with it.
5. Attribution issues. We need to always be sure we're attributing statements to the right people...and that our opinion as newscasters doesn't come through. You might not mean to give your opinion...but some writing makes it sound that way: "His address to the nation is coming on the heels of Sept. 11th, which caused America to go into Iraq." Really?
"After hearing from Petraeus and Crocker, he has decided on a way forward that will reduce the U.S. Military presence but not abandon Iraq to chaos." The key thing missing here is..."he says." By saying "He says that he has decided..." it puts the statement in his mouth...not yours.
One more: "The setting of a park across the way failed to evoke the same emotions as years passed, leaving mourners dissatisfied." Turn it around, and it's "Mourners said the ceremony in the park failed to evoke the same emotions as years passed, leaving them dissatisfied."
6. Cut, trim, do away with words you don't need. "U.S. intelligence agencies are probing over bin Laden's...." becomes "U.S. intelligence agencies are probing bin Laden's...."
7. When we're writing for our own voice, we can't really read quotes. When we start using soundbites in our newscasts, direct quotes will become very important. But when we're writing for ourselves to read, they just sound wrong. Paraphrase quotes within "readers" in a newscast...and only very sparingly use quotes. For instance: "President Bush called it 'a day to mourn.'"
8. The active/passive thing. "Osama bin Laden's voice was heard..." or "Questions have been raised about..." Look, you can't always avoid the passive voice, but in cases like this it really matters. Find the person who's doing the acting (like Osama releasing a tape) and credit him with doing something. In the Cheshire story, lawmakers are raising questions. Not only does it make for more active writing...it helps you write shorter, and attribute news correctly.
Lesson: Setting The Scene
The "scene" in a broadcast report is an elusive thing, I've found. No matter how I try to describe it, it seems to be misunderstood. Perhaps what we can do is look at a scene for what it's NOT...
1. Random sound: A scene isn't the disconnected sound of the ocean, birds, a screaming car or an angry mob, just for the sake of hearing something. It's got to be described...to matter.
2. Anything outside an interview setting: While walking and talking in the great outdoors can actually be a scene, it's got to have purpose...why are we talking to this person there? What are they describing? If we take someone out of a studio and office and have them walk down the sidewalk for no reason, it will sound chaotic, disjointed...
Instead, here's what a scene IS...
1. A chance to hear something about a story that words alone can't convey. The sound of a bulldozer knocking down a building takes you there, in the way someone telling you a story about a bulldozer knocking down a building never could.
2. A chance to break up the narrative flow. If all we ever heard was: Reporter talks/Soundbite/Reporter/Soundbite/etc....it would get pretty boring. A scene lets you go elsewhere in the story...and really separates what we do from print reporting.
3. A chance to SHOW and not TELL. A scene should be constructed to create a visual image that shows you something about a person's life or character...about a situation or controversy.
Here are a few examples of scenes in radio stories. The first one's light...a story I did for NPR about a new rule in Connecticut high school football. This next story has at least one disturbing scene...Nancy Cohen reports on a broken sewage system.
1. Random sound: A scene isn't the disconnected sound of the ocean, birds, a screaming car or an angry mob, just for the sake of hearing something. It's got to be described...to matter.
2. Anything outside an interview setting: While walking and talking in the great outdoors can actually be a scene, it's got to have purpose...why are we talking to this person there? What are they describing? If we take someone out of a studio and office and have them walk down the sidewalk for no reason, it will sound chaotic, disjointed...
Instead, here's what a scene IS...
1. A chance to hear something about a story that words alone can't convey. The sound of a bulldozer knocking down a building takes you there, in the way someone telling you a story about a bulldozer knocking down a building never could.
2. A chance to break up the narrative flow. If all we ever heard was: Reporter talks/Soundbite/Reporter/Soundbite/etc....it would get pretty boring. A scene lets you go elsewhere in the story...and really separates what we do from print reporting.
3. A chance to SHOW and not TELL. A scene should be constructed to create a visual image that shows you something about a person's life or character...about a situation or controversy.
Here are a few examples of scenes in radio stories. The first one's light...a story I did for NPR about a new rule in Connecticut high school football. This next story has at least one disturbing scene...Nancy Cohen reports on a broken sewage system.
Tips: Questions To Ask About Your Story
Here's a short handout to get you started writing "short and tight" - the way you'll need to for Radio & TV. Radio coach Valerie Geller contributed this very handy checklist of things to ask yourself:
- How does this story affect my listener?
- How can I describe things more visually?
- How can I make someone care about this?
- How is it that I'm putting this story on air?
- How can the presented problems be solved? What are the solutions?
- How did this happen? How could it have been prevented?
- How else can I tell this story?
- How would I tell it to a friend?
- How can I make it better?
- How would I tell it if my life depended on NOT losing a listener.
Writing for broadcast is really a two part process...what you write, and then how effectively you edit your own work. You should be a very critical editor at all times in the process, from when you first formulate a theme for your story, to just before you hand it over to another editor to get his or her take. So, it's a good idea to have a vision for your story...we'll go over that in a bit. Before we get too deep into the idea of "story visioning" - it's important to know what to listen for in your own work, and in the works of others. You have a chance to model your work after a story you admire, and use some of the same techniques a favorite reporter uses. So, how to listen?
Here's a very handy guide to listening...it's called: Questions for Listening (Courtesy Andrea DeLeon, National Public Radio)
- What is the specific focus of the piece...what's it about?
- Did the piece make us care?
- Are the stakeholders all here? Are their points balanced?
- Is there too much information? Not enough?
- Is the piece written for the ear...you know, to be listened to, not read?
- Are there scenes in this piece? Visuals? Can you see what's going on?
- How could more sound and more scenes improve this story?
- Could it be made simpler?
- Is the structure of this story the best it can be?
Ask yourself these questions as you listen to stories being told, and you'll be teaching yourself to think like an editor.
Story "visioning" is an idea I heard about from a fantastic radio reporter named Melanie Peeples. In her training seminars she talks about this idea, which is really a more complex version of a story outline. Before we get into her visioning idea, let's listen to a recent political story she did for NPR, called Republican Leads Race for Louisiana Governor.
Here's the story visioning worksheet that Melanie has so generously allowed me to borrow from:
Questions for Story Visioning...before you start
- What is this story about?
- Who stands to win/lose in this story? Who are the stakeholders?
- What is my focus statement? (A short description, no longer than a few lines)
- Who do I need to interview: Side 1, Side 2, Real Person, Expert, etc.?
- What is this story REALLY about? What's underneath it all?
- Where should I interview the subjects? What does the place look like, how can I describe it?
- What questions should I ask?
- What more do I need to learn before I start working on this story?
Lesson: The Profile Piece
Here's a good example of a "profile" piece.
All Things Considered, December 11, 2007 · Yale University law student Isra Bhatty recently won a prestigious Rhodes scholarship.
When she's not hitting the books, Bhatty works as an English-Urdu translator for detainees at Guantanamo Bay. She's also a hip-hop artist and can be seen intercepting passes on a woman's football team — wearing her tye-dyed hijab.
Diane Orson of member station WNPR reports.
A story like this - about a person, or a group of people - includes a few key things:
1. A compelling story. It's not enough for someone just to be nice, or interesting. It's not enough for them to just be doing something "nice." We want to tell an important story that could affect a listener's life. Does someone have a unique experience? How is what they do "different?"
2. A good talker. Your key "stakeholder" in this story is the person you're profiling. What are they likely to talk about? What will they say? What would you like to GET them to say?
3. A thoughtful observer or "expert." A profile story falls apart if all we hear is the person we're profiling talking. We want someone from their life - or someone who knows their work - to give us an outsider's view.
4. A scene. Show this person at work, play or whatever they do. Show them in a setting that's not just a straight interview. The listener will take more away from you "showing" them than you "telling" them...
Write a focus statement for your piece that addresses these issues. Sell me on why it's a good story that listeners will care about. Tell me about the person you're profiling, and what they're likely to say, explain who else will be part of the story, and describe a scene you hope to capture.
All Things Considered, December 11, 2007 · Yale University law student Isra Bhatty recently won a prestigious Rhodes scholarship.
When she's not hitting the books, Bhatty works as an English-Urdu translator for detainees at Guantanamo Bay. She's also a hip-hop artist and can be seen intercepting passes on a woman's football team — wearing her tye-dyed hijab.
Diane Orson of member station WNPR reports.
A story like this - about a person, or a group of people - includes a few key things:
1. A compelling story. It's not enough for someone just to be nice, or interesting. It's not enough for them to just be doing something "nice." We want to tell an important story that could affect a listener's life. Does someone have a unique experience? How is what they do "different?"
2. A good talker. Your key "stakeholder" in this story is the person you're profiling. What are they likely to talk about? What will they say? What would you like to GET them to say?
3. A thoughtful observer or "expert." A profile story falls apart if all we hear is the person we're profiling talking. We want someone from their life - or someone who knows their work - to give us an outsider's view.
4. A scene. Show this person at work, play or whatever they do. Show them in a setting that's not just a straight interview. The listener will take more away from you "showing" them than you "telling" them...
Write a focus statement for your piece that addresses these issues. Sell me on why it's a good story that listeners will care about. Tell me about the person you're profiling, and what they're likely to say, explain who else will be part of the story, and describe a scene you hope to capture.
Here's another listening example that might help give you ideas. It's from the oldest and most common type of profile: The obit. British science fiction novelist Arthur C. Clarke died Tuesday in Sri Lanka, where he lived for more than 50 years. He was 90 years old. NPR's Neda Ulaby reports on his life and career.
As you're listening to this piece - apply this series of listening practices. It's meant not only for editors, but reporters who want to give a self-critical listen as well.
One of the things we want our profile to have is a "scene" - a part of the script where sound can help to tell the story. A place where you're "showing" and not telling. Here's some information on how to "set the scene" in a radio piece.
Lastly, I want to draw your attention to this "statement of ethics" for broadcast reporting. It's important to keep rules like this in mind, when you're doing any story - especially one about an individual. You should always be concerned that your reporting meets some basic guidelines, even when the story isn't thought to be "controversial."
Tuesday, February 23, 2010
Twain House Event - Storytelling Links
March 2nd, my JRN 521 class will be joining me at an event in Hartford, at the Mark Twain House & Museum. It's a premiere of a film about the struggling newspaper industry, followed by a panel discussion that I'm leading.
Here's a link to the press release of the event - with much of the information you'll need.
You're going to be covering this event as a member of the press. It starts at 7:30, and you should get there a little early. Let them know you're part of my class, and covering this for the press.
You'll need to bring your Marantz recorders, to record the panel discussion. The Twain House will provide a "mult-box" - it's a multiple output box that allows you to plug in your recorder and get the sound of what's happening on stage.
My advice: Take notes as you're listening, so that you know where some of the best soundbites are.
The story you're going to produce for me will have a few elements:
- A host lead, which has the "news" that you're covering.
- A two minute, produced story, that includes your own script, along with soundbites you've chosen.
- You should choose 3 soundbites from the panel discussion - length of each is anywhere between 10 and 30 seconds. Any longer is probably too long.
I've given you a sample script, so that you know how to structure your piece...what a script should look like. But, what style should it follow. Here are two examples of NPR stories...one that follows a more traditional "radio news" style, and one that's more "conversational."
I used to teach the more traditional style of reporting...but more and more, listeners want to hear someone really talking to them, and helping them understand the story. That's the "conversational" style I mean.
One key to this: It's better to focus on one part of the story you find interesting than to give me a "laundry list" of everything that happens. So, in covering this conversation about newspapers, I'd love for you to summarize the key points of the evening - but choose one topic or thought that's most important or interesting...and stick with it.
How to prepare? For next week, I'd like you to do some reading...find stories about the problems the newspaper industry is having. Get some background. Do some reading about the panelists. Then, I'd like you to write a series of questions for our guests. I may use some of them on stage...or you may have a chance to ask some.
I will need these questions emailed to me no later than next Monday.
As for the production of this story...no worries...you'll have a few weeks to do it, because Spring break is the following week!
Here's a link to the press release of the event - with much of the information you'll need.
You're going to be covering this event as a member of the press. It starts at 7:30, and you should get there a little early. Let them know you're part of my class, and covering this for the press.
You'll need to bring your Marantz recorders, to record the panel discussion. The Twain House will provide a "mult-box" - it's a multiple output box that allows you to plug in your recorder and get the sound of what's happening on stage.
My advice: Take notes as you're listening, so that you know where some of the best soundbites are.
The story you're going to produce for me will have a few elements:
- A host lead, which has the "news" that you're covering.
- A two minute, produced story, that includes your own script, along with soundbites you've chosen.
- You should choose 3 soundbites from the panel discussion - length of each is anywhere between 10 and 30 seconds. Any longer is probably too long.
I've given you a sample script, so that you know how to structure your piece...what a script should look like. But, what style should it follow. Here are two examples of NPR stories...one that follows a more traditional "radio news" style, and one that's more "conversational."
I used to teach the more traditional style of reporting...but more and more, listeners want to hear someone really talking to them, and helping them understand the story. That's the "conversational" style I mean.
One key to this: It's better to focus on one part of the story you find interesting than to give me a "laundry list" of everything that happens. So, in covering this conversation about newspapers, I'd love for you to summarize the key points of the evening - but choose one topic or thought that's most important or interesting...and stick with it.
How to prepare? For next week, I'd like you to do some reading...find stories about the problems the newspaper industry is having. Get some background. Do some reading about the panelists. Then, I'd like you to write a series of questions for our guests. I may use some of them on stage...or you may have a chance to ask some.
I will need these questions emailed to me no later than next Monday.
As for the production of this story...no worries...you'll have a few weeks to do it, because Spring break is the following week!
Tuesday, November 10, 2009
Assignment: Story pitch for next week
Thanks for understanding our cancelled class tonight. I've not been well, and when I heard that we had yet another sickness tonight (a confirmed H1N1) I thought it best that we keep our collective distance.
A few things you should know:
1. We've gotten quite a bit further, faster in this class than I have in the past, and I owe that to your very good work and attention. Thank you.
2. The profiles were - on the whole - very well done and interesting. I appreciate your work on them.
3. Next week, we'll listen to the profiles in class, and critique. Get ready to hear these stories up against some other, national profile pieces...
4. Here's what I'd like you to do for next week: We're going to do another story, on a tighter deadline...due the week after the Thanksgiving break (Dec 1). I need you to send me a story pitch, no longer than a paragraph, proposing a news feature. This story should contain at least three interviews, with appropriate "stakeholders." It should be balanced, and most importantly be compelling.
This news story needs to be about something important happening in your community...the fallout from a recent municipal election, the decision to build a new road or shopping center, the impact of the economy, a trend that's happening in your town, and maybe across the nation, etc. This story needs some "tension" - with people in some disagreement over an outcome. This isn't our final project, but you can get a sense of what I'm looking for in this blog post: http://listeninglab.blogspot.com/2009/03/final-project-spring-2009.html
I'm NOT looking for it to be as big as 4:30, though. A nice, 3:30 story will suffice.
So, what should be in this "pitch?" Well, tell me what the story is...where you first found out about it...who are the "stakeholders?" Who has to gain and lose? How would you tell this story? How would it be structured? Think of this paragraph as the basis for a "Host Lead" for the story itself.
Any questions, write or call. I'll see you next week. I hope to be feeling better, and I hope you all stay healthy, too..
Tuesday, October 20, 2009
Robert Smith: Storyteller
I'm giving you a handout about "recording active sound" by one of the best reporters in the business, Robert Smith. He knows how to use audio in his stories better than anyone else...and might just be better at "the profile" than anyone I know.
Here's a link to a favorite story we did together when I worked at NPR. It's about a New York tradition, the Fulton Fish Market, as it gets ready to move uptown. The colorful characters are exactly what you want in a "profile."
Here's one about a Dutch "invasion of New York."
And, finally, his version of one of the toughest kinds of profiles...the obit.
Here's a link to a favorite story we did together when I worked at NPR. It's about a New York tradition, the Fulton Fish Market, as it gets ready to move uptown. The colorful characters are exactly what you want in a "profile."
Here's one about a Dutch "invasion of New York."
And, finally, his version of one of the toughest kinds of profiles...the obit.
Tuesday, September 29, 2009
Newscasting "For the Ear"
We're going to spend one class period doing the thing that radio hosts and reporters have spent years learning - turning newswire copy into newscasts. To get a sense of what we're talking about, let's first listen to the most recent NPR hourly newscast.
In this case, it's a five-minute newscast, that includes several "readers" (copy written for the host to read), along with "scripters" (host copy with sound bites) and "wraps" (packaged reporter stories, introduced by the host). We're focusing today on the newscasters' main roles:
1. Re-writing news copy for broadcast...or "for the ear."
2. Deciding which stories to include, and in what order.
The structure of these stories is usually pretty simple and straightforward, and we've talked about it before...
1. News first (what's the reason we're telling this story)
2. Background information (context)
3. Balance of information (getting all sides)
4. Conclusion (move it forward)
So, we took this print story from the New York Times, and turned it into a :30 "reader" for a newscast.
All of the "basic rules of broadcast writing" apply when taking lots and lots of print-style copy, and turning it into a quick broadcast news item. But there's a longer list of hang-ups that will get you in trouble...
1. Punctuation: Sure, it's for broadcast, not print. But that doesn't mean punctuation isn't important. In fact, it might be more important. Emphasis and pacing matter when reading...so, "On the anniversary of the September eleventh attacks memorials were held..." is read differently than "On the anniversary of the September eleventh attacks, memorials were held..."
2. Spell it out: Here's one thing that is different than the AP print stylebook. You've got to write out words "September" not "Sept." Or, in a story about gas prices, "Two-seventy-seven" not "$2.77." "Triple-A" not "AAA." Imagine getting to that part of a script, and having to figure out how to say something...
3. Conversational writing can't be confusing. Some case studies:"The names of victims could be heard from speakers that piped in the sound from the stone plaza where they were being read."
"The weather mixed in with the emotions of the memorial with tears streaming down many faces in remembrance."
"Bush does seem intent on placing conditions on reductions, insisting that conditions on the ground must warrant cuts and that now-unforseen events could change the plan."
In cases like these the writer has violated multiple rules of broadcast writing. Sentences are too long, and they're using unnecessary words. Read these out loud to yourself or someone else...and you'll realize quickly what's wrong. Write the way you speak.
4. Tenses need to agree. "...attacks that killed nearly 3,000 people and impacting American's and the world forever." Well, there's a few problems there...the number should be spelled out...and "American's" doesn't have an apostrophe...but the tense is the real problem. Pick one for the story, and stick with it.
5. Attribution issues. We need to always be sure we're attributing statements to the right people...and that our opinion as newscasters doesn't come through. You might not mean to give your opinion...but some writing makes it sound that way: "His address to the nation is coming on the heels of Sept. 11th, which caused America to go into Iraq." Really?
After hearing from Petraeus and Crocker, he has decided on a way forward that will reduce the U.S. Military presence but not abandon Iraq to chaos." The key thing missing here is..."he says."
By saying "He says that he has decided..." it puts the statement in his mouth...not yours.
Here's another: "The setting of a park across the way failed to evoke the same emotions as years passed, leaving mourners dissatisfied." Turn it around, and it's "Mourners said the ceremony in the park failed to evoke the same emotions as years passed, leaving them dissatisfied."
One more: "State and government heads promised to confront the problem for future generations. But experts were disappointed they made no new bold proposals." The experts were disappointed in themselves?
6. Cut, trim, do away with words you don't need. "U.S. intelligence agencies are probing over bin Laden's...." becomes "U.S. intelligence agencies are probing bin Laden's...."
7. Paraphrase the quotes (or soundbites) into your own words. When we're writing for our own voice, we can't really read quotes. When we start using soundbites in our newscasts, direct quotes will become very important. But when we're writing for ourselves to read, they just sound wrong. Paraphrase quotes within "readers" in a newscast...and only very sparingly use quotes. For instance: "President Bush called it 'a day to mourn.'"
8. The active/passive thing. "Osama bin Laden's voice was heard..." or "Questions have been raised about..." Look, you can't always avoid the passive voice, but in cases like this it really matters. Find the person who's doing the acting (like Osama releasing a tape) and credit him with doing something. In the Cheshire story, lawmakers are raising questions. Not only does it make for more active writing...it helps you write shorter, and attribute news correctly.
9. Shorter sentences. Always. They're easier to read. They're easier to move within your copy. They're better. See?
Now, onto this question of deciding which stories to cover...and in what order. First, I'll draw your attention to a handout on the "Four Tiers of News Coverage" by Jay Kernis. It gives us a blueprint for which stories are the ones we should focus on most.
Our other resource for this is the Kern book, Chapter 10...looking at what factors newscasters take into consideration when choosing stories:
We'll discuss these in class...as you can see, it's a VERY subjective list of criteria.
We're going to find the top five stories in the news for our sample newscast, with a balance of international, national and state/local news.
In this case, it's a five-minute newscast, that includes several "readers" (copy written for the host to read), along with "scripters" (host copy with sound bites) and "wraps" (packaged reporter stories, introduced by the host). We're focusing today on the newscasters' main roles:
1. Re-writing news copy for broadcast...or "for the ear."
2. Deciding which stories to include, and in what order.
The structure of these stories is usually pretty simple and straightforward, and we've talked about it before...
1. News first (what's the reason we're telling this story)
2. Background information (context)
3. Balance of information (getting all sides)
4. Conclusion (move it forward)
So, we took this print story from the New York Times, and turned it into a :30 "reader" for a newscast.
All of the "basic rules of broadcast writing" apply when taking lots and lots of print-style copy, and turning it into a quick broadcast news item. But there's a longer list of hang-ups that will get you in trouble...
1. Punctuation: Sure, it's for broadcast, not print. But that doesn't mean punctuation isn't important. In fact, it might be more important. Emphasis and pacing matter when reading...so, "On the anniversary of the September eleventh attacks memorials were held..." is read differently than "On the anniversary of the September eleventh attacks, memorials were held..."
2. Spell it out: Here's one thing that is different than the AP print stylebook. You've got to write out words "September" not "Sept." Or, in a story about gas prices, "Two-seventy-seven" not "$2.77." "Triple-A" not "AAA." Imagine getting to that part of a script, and having to figure out how to say something...
3. Conversational writing can't be confusing. Some case studies:"The names of victims could be heard from speakers that piped in the sound from the stone plaza where they were being read."
"The weather mixed in with the emotions of the memorial with tears streaming down many faces in remembrance."
"Bush does seem intent on placing conditions on reductions, insisting that conditions on the ground must warrant cuts and that now-unforseen events could change the plan."
In cases like these the writer has violated multiple rules of broadcast writing. Sentences are too long, and they're using unnecessary words. Read these out loud to yourself or someone else...and you'll realize quickly what's wrong. Write the way you speak.
4. Tenses need to agree. "...attacks that killed nearly 3,000 people and impacting American's and the world forever." Well, there's a few problems there...the number should be spelled out...and "American's" doesn't have an apostrophe...but the tense is the real problem. Pick one for the story, and stick with it.
5. Attribution issues. We need to always be sure we're attributing statements to the right people...and that our opinion as newscasters doesn't come through. You might not mean to give your opinion...but some writing makes it sound that way: "His address to the nation is coming on the heels of Sept. 11th, which caused America to go into Iraq." Really?
After hearing from Petraeus and Crocker, he has decided on a way forward that will reduce the U.S. Military presence but not abandon Iraq to chaos." The key thing missing here is..."he says."
By saying "He says that he has decided..." it puts the statement in his mouth...not yours.
Here's another: "The setting of a park across the way failed to evoke the same emotions as years passed, leaving mourners dissatisfied." Turn it around, and it's "Mourners said the ceremony in the park failed to evoke the same emotions as years passed, leaving them dissatisfied."
One more: "State and government heads promised to confront the problem for future generations. But experts were disappointed they made no new bold proposals." The experts were disappointed in themselves?
6. Cut, trim, do away with words you don't need. "U.S. intelligence agencies are probing over bin Laden's...." becomes "U.S. intelligence agencies are probing bin Laden's...."
7. Paraphrase the quotes (or soundbites) into your own words. When we're writing for our own voice, we can't really read quotes. When we start using soundbites in our newscasts, direct quotes will become very important. But when we're writing for ourselves to read, they just sound wrong. Paraphrase quotes within "readers" in a newscast...and only very sparingly use quotes. For instance: "President Bush called it 'a day to mourn.'"
8. The active/passive thing. "Osama bin Laden's voice was heard..." or "Questions have been raised about..." Look, you can't always avoid the passive voice, but in cases like this it really matters. Find the person who's doing the acting (like Osama releasing a tape) and credit him with doing something. In the Cheshire story, lawmakers are raising questions. Not only does it make for more active writing...it helps you write shorter, and attribute news correctly.
9. Shorter sentences. Always. They're easier to read. They're easier to move within your copy. They're better. See?
Now, onto this question of deciding which stories to cover...and in what order. First, I'll draw your attention to a handout on the "Four Tiers of News Coverage" by Jay Kernis. It gives us a blueprint for which stories are the ones we should focus on most.
Our other resource for this is the Kern book, Chapter 10...looking at what factors newscasters take into consideration when choosing stories:
- Stories that have an impact on people
- Unusual or unexpected stories
- The "first of it's kind"
- Timely
- Controversial
- Involving prominent people
- Death or tragedy
- It involves the U.S.
- It concerns an important issue
- It is of "human interest"
- It's useful
- It's "out there already"
We'll discuss these in class...as you can see, it's a VERY subjective list of criteria.
We're going to find the top five stories in the news for our sample newscast, with a balance of international, national and state/local news.
Tuesday, September 22, 2009
Climate Change Meeting Assignment
Well, I promised you a link to the story, 'U.S. and China Vow Action on Climate but Cite Needs' - so, here it is.
Again, we're looking for a 30-second rewrite of this story into "broadcast style."
Again, we're looking for a 30-second rewrite of this story into "broadcast style."
Tuesday, September 08, 2009
Fall 2009 gets underway!
Welcome to a new semester...should be a fun chance to learn about storytelling, radio-style.
As usual, I start with some basic terms that you'll be hearing from me throughout the semester...so we're talking the same language. Then, we'll be listening to some examples of the kinds of stories we'll be telling:
Newscast: This could be a lot of things...five minutes of headlines read by a radio reporter at 6 a.m. or maybe a full, half-hour television broadcast, complete with weather and sports. For our purposes, a newscast is: The framework within which we place stories. We'll be talking in later classes about how to "stack" a newscast, or choose the important stories in the right order.
Reader: That's when the newscaster reads news copy (otherwise known as a script) directly to listeners. It's news that he has written himself, and doesn't include any additional outside sound. Many radio stations provide newscasts that are little more than a series of readers, strung together taken from wire service copy. It might look something like this:
The state Supreme Court ordered a new sentence today for a man convicted of shooting a New Haven police officer. The high court unanimously upheld the conviction of Arnold Bell, but found part of a law giving him a stiffer sentence as a persistent dangerous offender unconstitutional.
Scripter: That's when the newscaster reads copy, and inserts a soundbite into the the story. Of course, there's a million ways to refer to the soundbite, like: cut, bite, clip, sound on tape (or SOT), tape (that's pretty old-fashioned), audio, and probably a few I'll forget. Here's the same story, written as a scripter:
The state Supreme Court ordered a new sentence today for a man convicted of shooting a New Haven police officer. The high court unanimously upheld the conviction of Arnold Bell, but found part of a law giving him a stiffer sentence as a persistent dangerous offender unconstitutional. Bell's attorney, Joe Blow said the ruling was a victory:
Bell :12 "...will be vindicated."
Bell was convicted of shooting officer Jane Smith in 2001.
Another name for the scripter is the donut...and it's easy to see why. There's some stuff...then a hole where the soundbite goes, then more stuff. Many TV stations (they call them VO-SOTs, or voiceovers with sound on tape...catchy, no?), and some radio stations dispense with the second bit of "stuff" and just move on to the next story.
Spot (or Wrap): Basically, it's the same idea as a scripter, but a reporter is delivering the story...not a newscaster. A spot is short (for our class, :50 to 1:30) and it usually breaks news. It's the first reporting on a story, and is meant to get the basics out there. That doesn't mean spots can't be full of information.
Each spot includes a "Host Lead" or "Host Intro" read by an anchor. It gives a description of what's to come. Here's an example from WNPR reporter Anna Sale....First the Host Intro:
Hartford Mayor Eddie Perez was arrested today on charges of bribery and fabricating evidence in connection with renovations at his home by a city contractor. WNPR's Anna Sale reports. Here's the link to the story itself.
Here's another spot from Lucy Nalpathanchil. First, the host intro:
While Mayor Eddie Perez maintains his innocence on corruption charges and says he won't resign, Hartford City Council may have a say in Perez's future. WNPR's Lucy Nalpathanchil reports. Now, the link to hear the story.
It's still a spot that's breaking news...but it's taking a different angle. Some people might call this a "sidebar" story - an old newspaper term. I just call it good reporting...following up on all aspects of an important story.
Feature: This is what you'll be producing later in the class. It's a longer story than a spot, although it has some of the same elements (news at the top of the story, background, voices of stakeholders, a conclusion that moves the story forward) as a spot, but takes more time, and provides more depth. We're going to hear a few different kinds of stories from today's Morning Edition...
Here's a good recent example of a story driven by a need to more fully develop an ongoing news story. And, another example, where we took a "micro" look at a bigger problem. You can do more listening here to different kinds of stories that fit into these categories.
Okay, now those terms make sense, but we can't do much with them, unless we first explore the "Basic Rules of Broadcast Writing." For next week - we'll get more depth on these subjects by tearing into our textbook, "Sound Reporting" - and reading the first four chapters.
Talk Show Intro: This is the newest thing we'll be discussing in the class...and it's an often overlooked aspect of broadcast writing. The introductions that hosts read for talk programs draw listeners into the conversation. A poor introduction means a disengaged audience...a good intro has people clamoring to get involved. Here's an example of an "okay" intro from our talk show Where We Live.
As usual, I start with some basic terms that you'll be hearing from me throughout the semester...so we're talking the same language. Then, we'll be listening to some examples of the kinds of stories we'll be telling:
Newscast: This could be a lot of things...five minutes of headlines read by a radio reporter at 6 a.m. or maybe a full, half-hour television broadcast, complete with weather and sports. For our purposes, a newscast is: The framework within which we place stories. We'll be talking in later classes about how to "stack" a newscast, or choose the important stories in the right order.
Reader: That's when the newscaster reads news copy (otherwise known as a script) directly to listeners. It's news that he has written himself, and doesn't include any additional outside sound. Many radio stations provide newscasts that are little more than a series of readers, strung together taken from wire service copy. It might look something like this:
The state Supreme Court ordered a new sentence today for a man convicted of shooting a New Haven police officer. The high court unanimously upheld the conviction of Arnold Bell, but found part of a law giving him a stiffer sentence as a persistent dangerous offender unconstitutional.
Scripter: That's when the newscaster reads copy, and inserts a soundbite into the the story. Of course, there's a million ways to refer to the soundbite, like: cut, bite, clip, sound on tape (or SOT), tape (that's pretty old-fashioned), audio, and probably a few I'll forget. Here's the same story, written as a scripter:
The state Supreme Court ordered a new sentence today for a man convicted of shooting a New Haven police officer. The high court unanimously upheld the conviction of Arnold Bell, but found part of a law giving him a stiffer sentence as a persistent dangerous offender unconstitutional. Bell's attorney, Joe Blow said the ruling was a victory:
Bell :12 "...will be vindicated."
Bell was convicted of shooting officer Jane Smith in 2001.
Another name for the scripter is the donut...and it's easy to see why. There's some stuff...then a hole where the soundbite goes, then more stuff. Many TV stations (they call them VO-SOTs, or voiceovers with sound on tape...catchy, no?), and some radio stations dispense with the second bit of "stuff" and just move on to the next story.
Spot (or Wrap): Basically, it's the same idea as a scripter, but a reporter is delivering the story...not a newscaster. A spot is short (for our class, :50 to 1:30) and it usually breaks news. It's the first reporting on a story, and is meant to get the basics out there. That doesn't mean spots can't be full of information.
Each spot includes a "Host Lead" or "Host Intro" read by an anchor. It gives a description of what's to come. Here's an example from WNPR reporter Anna Sale....First the Host Intro:
Hartford Mayor Eddie Perez was arrested today on charges of bribery and fabricating evidence in connection with renovations at his home by a city contractor. WNPR's Anna Sale reports. Here's the link to the story itself.
Here's another spot from Lucy Nalpathanchil. First, the host intro:
While Mayor Eddie Perez maintains his innocence on corruption charges and says he won't resign, Hartford City Council may have a say in Perez's future. WNPR's Lucy Nalpathanchil reports. Now, the link to hear the story.
It's still a spot that's breaking news...but it's taking a different angle. Some people might call this a "sidebar" story - an old newspaper term. I just call it good reporting...following up on all aspects of an important story.
Feature: This is what you'll be producing later in the class. It's a longer story than a spot, although it has some of the same elements (news at the top of the story, background, voices of stakeholders, a conclusion that moves the story forward) as a spot, but takes more time, and provides more depth. We're going to hear a few different kinds of stories from today's Morning Edition...
Here's a good recent example of a story driven by a need to more fully develop an ongoing news story. And, another example, where we took a "micro" look at a bigger problem. You can do more listening here to different kinds of stories that fit into these categories.
Okay, now those terms make sense, but we can't do much with them, unless we first explore the "Basic Rules of Broadcast Writing." For next week - we'll get more depth on these subjects by tearing into our textbook, "Sound Reporting" - and reading the first four chapters.
Talk Show Intro: This is the newest thing we'll be discussing in the class...and it's an often overlooked aspect of broadcast writing. The introductions that hosts read for talk programs draw listeners into the conversation. A poor introduction means a disengaged audience...a good intro has people clamoring to get involved. Here's an example of an "okay" intro from our talk show Where We Live.
Tuesday, August 18, 2009
Blog post refutes old writing bugaboo
As an editor, I'm vicious about few things. But something that I'm pretty serious about is the use of "more than" instead of "over." I was taught by editors much smarter than me that they're not really synonyms. But now, this annoying New York Times blog piece refutes my whole argument.
I guess I'm not sure how I feel about this. Is it wrong to want to hold onto the few rules you actually believe in?
Tuesday, March 24, 2009
Final Project Spring 2009
For our final project, we're really looking to tell a "newsy" news story, to be included in the WNPR series "This Economic Life."
These pieces may be included in a podcast version for wnpr.org. We've discussed this already, but here's what we're looking for:
Find a story about how the economic downturn is forcing people to make changes in their lives. Maybe it's second jobs, or workforce training...maybe it's small businessmen finding new ways to attract customers...maybe there's an unintended positive consequence of this downturn. A few examples:
The story should include these elements:
1. 4:30 minutes long
2. At least 3 voices (or sources) in the story, to provide different viewpoints
3. At least one scene - where action, or an interview is happening in a place that helps to tell the story.
What are some things we're looking for?
1. The voice of a "real person" - meant to illustrate a trend or idea. We've already found these people through man on the street interviews, workers at businesses, etc.
2. The voice of a "stakeholder" - an official person whose work affects us all. Here, I'm talking about the mayor, the buisness owner, the legislator, the union leader. The one making the decisions that have the biggest impact.
3. The voice of an "expert" - meant to uncover truths, point to trends, debunk myths. University professors are (usually) considered experts, but so are analysts, well-informed newspaper columnists, and others who are able to take an objective view of the situation.
Not all stories will have all of these characters - but a rich mix of the three gives us different insights into the story. Here's a recent story by WNPR's Diane Orson that has a lot of tension...it's about Yale's battle for ancient artifacts with the government of Peru.
Before you start writing a story like this, take a look at a few of these ideas about how to get started, and construct a good story:
Write a paragraph-long "statement of purpose" - better known as a "story pitch." Basically, you're trying to "sell" me on the idea you're proposing. Tell me how you'll address the ideas above: What type of story is it? Who are the characters? Where will your "scene" take place?
These pieces may be included in a podcast version for wnpr.org. We've discussed this already, but here's what we're looking for:
Find a story about how the economic downturn is forcing people to make changes in their lives. Maybe it's second jobs, or workforce training...maybe it's small businessmen finding new ways to attract customers...maybe there's an unintended positive consequence of this downturn. A few examples:
- Harriet Jones on city children working on growing their own food
- Diane Orson on burials at sea...yes, it's cheaper!
- Harriet on a big rise in activity at career centers
The story should include these elements:
1. 4:30 minutes long
2. At least 3 voices (or sources) in the story, to provide different viewpoints
3. At least one scene - where action, or an interview is happening in a place that helps to tell the story.
What are some things we're looking for?
- Well, one thing is...tension. Are there two (or more) sides to this story...and are they at odds? What are the main issues causing the tension?
- Another way to tell a news story is to find a trend. Is something happening in your life, town, community or world, that's part of a larger trend? How is this trend really affecting people?
- And, of course you want to find compelling characters. Boring people make boring soundbites. Boring soundbites make boring stories. A very compelling character can result in an excellent profile piece.
1. The voice of a "real person" - meant to illustrate a trend or idea. We've already found these people through man on the street interviews, workers at businesses, etc.
2. The voice of a "stakeholder" - an official person whose work affects us all. Here, I'm talking about the mayor, the buisness owner, the legislator, the union leader. The one making the decisions that have the biggest impact.
3. The voice of an "expert" - meant to uncover truths, point to trends, debunk myths. University professors are (usually) considered experts, but so are analysts, well-informed newspaper columnists, and others who are able to take an objective view of the situation.
Not all stories will have all of these characters - but a rich mix of the three gives us different insights into the story. Here's a recent story by WNPR's Diane Orson that has a lot of tension...it's about Yale's battle for ancient artifacts with the government of Peru.
Before you start writing a story like this, take a look at a few of these ideas about how to get started, and construct a good story:
- One is from reporter Melanie Peeples. She talks about "story visioning."
- Another is taken from a manifesto by reporter Nancy Updike. She has some unusual methods, but they might help you break through to get a good idea.
- This post gives you some different ideas about construction of the story.
- As you're listening to stories in this lesson, make an effort to use some of these listening guidelines. They'll help you write, I promise.
Write a paragraph-long "statement of purpose" - better known as a "story pitch." Basically, you're trying to "sell" me on the idea you're proposing. Tell me how you'll address the ideas above: What type of story is it? Who are the characters? Where will your "scene" take place?
Tuesday, March 17, 2009
Preparing for the final project
Once again this semester, our final projects will be part of an ongoing reporting effort at WNPR called "This Economic Life." The project aims to tell stories about how peoples' lives are affected by the recession - and the changes they're making to cope. Let me share with you a few examples of the types of stories we're looking for:
Fresh out of College, but Can't Land a Job
Sacremento Tent City Reflects Economic Troubles
Fresh out of College, but Can't Land a Job
Sacremento Tent City Reflects Economic Troubles
Thursday, February 26, 2009
Tuesday, February 24, 2009
Many things to cover, in transistion from newscast to reporting
It's almost the end of February, and we're about ready to make the jump from newscast writing to the more fun world of reporting stories in the field. First things first:
Our newscast, begun last week, is "stacked" this way:
1. Obama Simulus
2. Burris & Blago
3. Oil Price Drop
4. Buffalo Crash Update
5. Power Plant Design
6. Clinton in Asia
7. Guatemalan President and Cuba
We'll read through these - and revise. Then we'll go through our "scripter" - based on the Q Poll press conference with Doug Schwartz. We'll read those - and revise...and we're ready to move on.
Next week, guest speaker Lucy Nalpathanchil will be here. She's WNPR's Assignment editor, and a reporter who works on a few "beats" for us, including immigration. She'll be going through what makes a good newscast, and will be sharing some of her stories with us. Here's one - a spot about legislation that's been kicked around the capitol for a few years.
She's also going to help us with the scripts for next week's assignment:
We're going to write a 1:30 spot about Connecticut's troubled newspaper industry. As early as tomorrow, you'll see news of another big chunk of layoffs at the The Hartford Courant, the state's largest - and most read - newspaper. This comes just days after the Journal Register Company sought bankruptcy protection - they run the New Haven Register.
The main point of this story? What does this mean for the future of newspapers in Connecticut? What does it mean for readers, who won't get as much news?
Tonight in class, we'll formulate some questions to ask our interview subjects for this story. Who do I want to hear from? At least one "expert" voice - someone with insight or specific knowledge of the newspaper industry. At least one "real person" voice - someone whose life will be affected.
The first of these is pretty easy. I'll serve up to you Rich Hanley - the guy who runs our program. Here's a link to one of the thousands of interviews he did when the Tribune news broke. Getting the other voices is harder - it's called "Man on the Street" or "Vox" and it's pretty simple. Approach people on the street, or in a public place, announce that you're a reporter working on a story, and ask your questions. You'll get turned down a lot...that's a good skill to learn.
Here's a story that employs both of these elements - although it's much longer. The reporter is a guy you'll recognize.
This will be your first real reporting assignment for class. We'll do a short, light piece following spring break (Please read this post about "profile" pieces for radio...), and then we'll start work on a final project.
Our newscast, begun last week, is "stacked" this way:
1. Obama Simulus
2. Burris & Blago
3. Oil Price Drop
4. Buffalo Crash Update
5. Power Plant Design
6. Clinton in Asia
7. Guatemalan President and Cuba
We'll read through these - and revise. Then we'll go through our "scripter" - based on the Q Poll press conference with Doug Schwartz. We'll read those - and revise...and we're ready to move on.
Next week, guest speaker Lucy Nalpathanchil will be here. She's WNPR's Assignment editor, and a reporter who works on a few "beats" for us, including immigration. She'll be going through what makes a good newscast, and will be sharing some of her stories with us. Here's one - a spot about legislation that's been kicked around the capitol for a few years.
She's also going to help us with the scripts for next week's assignment:
We're going to write a 1:30 spot about Connecticut's troubled newspaper industry. As early as tomorrow, you'll see news of another big chunk of layoffs at the The Hartford Courant, the state's largest - and most read - newspaper. This comes just days after the Journal Register Company sought bankruptcy protection - they run the New Haven Register.
The main point of this story? What does this mean for the future of newspapers in Connecticut? What does it mean for readers, who won't get as much news?
Tonight in class, we'll formulate some questions to ask our interview subjects for this story. Who do I want to hear from? At least one "expert" voice - someone with insight or specific knowledge of the newspaper industry. At least one "real person" voice - someone whose life will be affected.
The first of these is pretty easy. I'll serve up to you Rich Hanley - the guy who runs our program. Here's a link to one of the thousands of interviews he did when the Tribune news broke. Getting the other voices is harder - it's called "Man on the Street" or "Vox" and it's pretty simple. Approach people on the street, or in a public place, announce that you're a reporter working on a story, and ask your questions. You'll get turned down a lot...that's a good skill to learn.
Here's a story that employs both of these elements - although it's much longer. The reporter is a guy you'll recognize.
This will be your first real reporting assignment for class. We'll do a short, light piece following spring break (Please read this post about "profile" pieces for radio...), and then we'll start work on a final project.
Tuesday, February 17, 2009
Covering the Press Conference
Covering staged press conferences can be one of the most boring things in journalism...but they're one of the most common things we do, and most important. In this excercise, you're given two of the basic tools of the newscaster: A press release and the audio of a press conference, and your job is to write two different scripters. In case you forget what a "scripter" is, it's a simple script - read by the newscaster - that includes a soundbite in the middle. Remember, you want the soundbite to say something that you can't. No lists of information - no raw numbers. Listen for something that helps you tell the story to a listener. First, click here for the press release - from the Quinnipiac Polling Institute. And now, the audio of the press conference - with poll director Doug Schwartz.
Tuesday, February 10, 2009
Stories Written on a Snowy Night Part 3: Naval Base
The New London Day scrapped their online version of this story...but that doesn't mean we can't look and see what our radio writers came up with.
Navy Version 1:
Everyone wins if the Navy accepts Connecticut's offer of $7.65 million for construction projects in Groton. If they say yes, the Navy can fufil their hopes of improving their shore infrastructure while Connecticut helps to keep them afloat.
According to a Navy spokeswoman, Connecticut is the first state to provide the Navy with money for construction purposes. And if the Navy accepts, $4.65 million would be used to upgrade the base's facility for its divers. The remainder would go toward replacing the aging boilers at the base power plant.
In 2005, the Pentagon tried closing the base, but an independent comission overruled this possibility. But now, Gov. Jodi Rell is doing all she can to help the submarine base stay afloat stating that it has an annual economic impact that can be measured in billions of dollars.
Now it is up to the Navy to decide whether to accept the money for the state or not. But Justin Bernier, an executive director of the state's Office of Miliary Affairs, assures us that its just a matter of moving some paperwork back and forth. "These things just take time," he said. Hopefully we will see some improvements in the near future.
Navy Version 2:
The state of Connecticut today offered the Naval Submarine Base $7.65 million for construction projects. [Quote:] "This is really unique," Lt. Laura Stegherr said Monday. "We need to reinvest and recapitalize our shore infrastructure, and a grant such as this could provide a mutual benefit to the state and the installation."Of that $7.65 million, $4.65 million would be used to upgrade the base's facility for its divers and the remainder would go toward replacing the aging boilers at the base power plant.
The $7.65 million is “still under consideration by the Navy,” Stegherr said, because the state has not yet approached Navy officials with the offer. The Navy decides on a case-by-case basis whether to accept money from a state. [Quote:] "The submarine base has an annual economic impact that can be measured in billions of dollars, and we want to do all we can to keep it off of future closure lists," Governor Rell said in a statement.
Navy Version 3:
The Naval Submarine Base in Groton may get a face lift. The state of Connecticut has approved $7.65 million in grants for construction at the base. The grants are part of $40 million the state legislature approved for base improvements in 2007. Governor M. Jodi Rell decided to expend part of those funds for diving facility upgrades and to replace boilers at the base power plant.
In 2005 the Pentagon considered closing the base but was overruled by an independent commission. Rell hopes investing the base will help keep it open saying it has an annual impact on the state upwards of a billion dollars. The Navy decides on a case-by-case basis whether to accept money from a state.
Currently Connecticut’s offer is still being considered by the Navy. Justin Bernier of the State Office of Military Affairs said the state is finalizing a deal with the Navy that stipulates how the money can be spent. Bernier said that now it is “just a matter of paperwork” that he expects will be complete in a few weeks.
Navy Version 1:
Everyone wins if the Navy accepts Connecticut's offer of $7.65 million for construction projects in Groton. If they say yes, the Navy can fufil their hopes of improving their shore infrastructure while Connecticut helps to keep them afloat.
According to a Navy spokeswoman, Connecticut is the first state to provide the Navy with money for construction purposes. And if the Navy accepts, $4.65 million would be used to upgrade the base's facility for its divers. The remainder would go toward replacing the aging boilers at the base power plant.
In 2005, the Pentagon tried closing the base, but an independent comission overruled this possibility. But now, Gov. Jodi Rell is doing all she can to help the submarine base stay afloat stating that it has an annual economic impact that can be measured in billions of dollars.
Now it is up to the Navy to decide whether to accept the money for the state or not. But Justin Bernier, an executive director of the state's Office of Miliary Affairs, assures us that its just a matter of moving some paperwork back and forth. "These things just take time," he said. Hopefully we will see some improvements in the near future.
Navy Version 2:
The state of Connecticut today offered the Naval Submarine Base $7.65 million for construction projects. [Quote:] "This is really unique," Lt. Laura Stegherr said Monday. "We need to reinvest and recapitalize our shore infrastructure, and a grant such as this could provide a mutual benefit to the state and the installation."Of that $7.65 million, $4.65 million would be used to upgrade the base's facility for its divers and the remainder would go toward replacing the aging boilers at the base power plant.
The $7.65 million is “still under consideration by the Navy,” Stegherr said, because the state has not yet approached Navy officials with the offer. The Navy decides on a case-by-case basis whether to accept money from a state. [Quote:] "The submarine base has an annual economic impact that can be measured in billions of dollars, and we want to do all we can to keep it off of future closure lists," Governor Rell said in a statement.
Navy Version 3:
The Naval Submarine Base in Groton may get a face lift. The state of Connecticut has approved $7.65 million in grants for construction at the base. The grants are part of $40 million the state legislature approved for base improvements in 2007. Governor M. Jodi Rell decided to expend part of those funds for diving facility upgrades and to replace boilers at the base power plant.
In 2005 the Pentagon considered closing the base but was overruled by an independent commission. Rell hopes investing the base will help keep it open saying it has an annual impact on the state upwards of a billion dollars. The Navy decides on a case-by-case basis whether to accept money from a state.
Currently Connecticut’s offer is still being considered by the Navy. Justin Bernier of the State Office of Military Affairs said the state is finalizing a deal with the Navy that stipulates how the money can be spent. Bernier said that now it is “just a matter of paperwork” that he expects will be complete in a few weeks.
Stories Written on a Snowy Night Part 2: UConn
Here's the orignial UConn story. This one had fewer "quotes" to paraphrase - it was more a matter of re-organizing content.
UConn Version 1:
A proposed partnership between the University of Connecticut Health Center and Hartford Hospital could end the Health Center's practice of seeking state money to cover deficits. The Center would, however, still require ongoing state funding for bonding and labor costs.
This proposed partnership would include a new "University Hospital" with two campuses, a new 250 bed hospital to replace John Dempsey Hospital, and a plan to maintain Health Center employee's status as state employees. However, now the state would pay the difference between the employee's fringe benefits costs and those of other hospital employees.
Challenges facing this partnership include reuniting the unionized Health Center and nonunion Hartford Hospital, and dealing with the dire financial situation of the state, with the projected budget deficit in the billions. When asked about these issues, Representative Roberta Willis of the Higher Education Committee, took a deep breath and said, [Quote:] "Did you hear my deep breath?"
UConn Version 2:
UConn Version 1:
A proposed partnership between the University of Connecticut Health Center and Hartford Hospital could end the Health Center's practice of seeking state money to cover deficits. The Center would, however, still require ongoing state funding for bonding and labor costs.
This proposed partnership would include a new "University Hospital" with two campuses, a new 250 bed hospital to replace John Dempsey Hospital, and a plan to maintain Health Center employee's status as state employees. However, now the state would pay the difference between the employee's fringe benefits costs and those of other hospital employees.
Challenges facing this partnership include reuniting the unionized Health Center and nonunion Hartford Hospital, and dealing with the dire financial situation of the state, with the projected budget deficit in the billions. When asked about these issues, Representative Roberta Willis of the Higher Education Committee, took a deep breath and said, [Quote:] "Did you hear my deep breath?"
UConn Version 2:
UConn Health Center Hartford Hospital Merger May Require State FundingThe University of Connecticut Health Center could end to seek state money for covering its deficits by merging with Hartford Hospital. According to a report by the independent Connecticut Academy of Science and Engineering issued this morning, the details of the proposed partnership includes:
• Creating a "University Hospital" with two campuses, UConn's John Dempsey Hospital and Hartford Hospital.
• Building a new, 250-bed hospital to replace John Dempsey Hospital. The state would pay the bonding costs for the project and the cost of any new equipment. In the past, the cost has been estimated at $475 million.
• Maintaining Health Center employees' status as state employees. However, the state will pay the difference between their fringe benefits costs and those of other hospital employees which amounts to millions of dollars a year.
• Collaborating with other area hospitals to increase their involvement with UConn's medical and dental schools, with access to students, interns and residents and research.
With the proposed partnership, the UConn Health Center would have financially stabilize, not have to rely on cash infusions from the state legislature to stay afloat in recent years. It could significantly change the healthcare landscape in the region and be transformed into part of a major academic medical center.
It would also replace the existing Dempsey Hospital without significantly adding to the number of hospital beds, and create a two-campus University Hospital. At present, the UConn Health Center is one of the nation's smallest academic hospitals, including the state's medical and dental schools, research laboratories and the 224-bed John Dempsey Hospital. Its hospital is very small and outdated, but has many commercial advantages due to located in the prosperous Farmington valley. Representative of both UConn and Hartford Hospital's parent company would lead this corporation. This is a result of many discussions of the state lawmakers about challenges of the potential partnership for last 2 years.
UConn Version 3:
A new report says a partnership with Hartford Hospital could keep the UConn Health Center from seeking state funds for it's deficits. But, the report by the Connecticut Academy of Science and Engineering says the hospital would still require ongoing state funding for bonding and labor costs. The plan will be unveiled to state lawmakers today.
It includes the creation of a "University Hospital" with two campuses at UConn's John Dempsey Hospital and Hartford Hospital. It also proposes the construction of a new 250-bed hospital to replace Dempsey, paid for by state bonding. Under the plan, Health Center workers would remain state employees, but the state would pick of the differences in fringe benefits costs between them and Hartford Hospital employees.
The partnership is intended to stabilize the UConn Health Center, which has relied on cash infusions from the state legislature to stay afloat in recent years.
Stories Written on a Snowy Night Part 1: Daschle
Here's the original NY Times Story, followed by three re-writes for radio.
1. What works about these stories...and what doesn't?
2. What are the key things we need to change about the print story to make it right "for the ear?"
3. How do we choose to include or exclude information?
Daschle Withdraws Version 1:
Tom Daschle followed Nancy Killefer’s lead today. Daschle withdrew his nomination for Secretary of Health and Human Services. Although the media and certain members of congress have scrutinized Daschle’s income tax issues, as recently as yesterday, it looked as though his nomination was going to pass.
Yesterday Mr. Daschle discussed his remorse over failure to pay approximately $140,000 in taxes on time, but he assured the public he would continue to move forward with his nomination.
Mr. Daschle and President Obama jointly announced Daschle’s withdraw today. The move came just a day following a push for Daschle’s appointment from Massachusetts senator, Edward M. Kennedy, and Montana senator, Max Baucus, who happens to run the Senate Finance Committee. President Obama also voiced support for Mr. Daschle yesterday and today said he accepted the withdrawal “with sadness and regret.”
President Obama says it is now time to move forward. He appeared on ABC’s Nightly News to say he “screwed up.” Daschle’s withdrawal came only hours after chief White House performance officer nominee, Nancy Killefer, removed her name from the running. Like Daschel, Killefer had tax issues of her own surface after failure to pay unemployment taxes.White House spokesman, Robert Gibbs, said today, the White House did not influence either of their decisions to withdraw.
Version 2:
President Barack Obama has lost another cabinet nominee to unpaid taxes. Tom Daschle withdrew his name from nomination for Secretary of Health and Human Services Tuesday after news of $140,000 in unpaid income taxes surfaced.
Obama initially said he would stand behind Daschle, but admitted he made a mistake in an interview with NBC’s “Nightly News.” He said it is not his mistakes that matter it is admitting them and not repeating them that counts.
Hours before Daschle gave up his nomination Nancy Killefer who was up for chief White House performance officer pulled out on the grounds of unpaid taxes as well. Treasury Secretary Timothy F. Geithner was also found to have $34,000 in unpaid taxes. All of the nominees have since paid off their tax debt. Geithner has already been confirmed, but a White House spokesperson said the administration has begun the process of replacing Daschle and Killefer.
Version 3:
Tom Daschle has withdrawn his nomination to be secretary of health and human services. The former Senator has undergone scrutiny for failure to pay taxes. The move is a blow to the Obama administration, which has set a goal of higher "ethical standards" in government, only to encounter several scandals involving appointees.
President Obama gave several national TV interviews Tuesday, saying that he "screwed up" by pushing the appointment. Daschle is one of Obama's closest confidants, and worked to get him elected. He decided to withdraw, saying that he had become a "distraction" and that he could not lead White House efforts to reform the health care system.
Among those mentioned as possible candidates for the job of health secretary are Governor Kathleen Sebelius of Kansas, a former state insurance commissioner; former Governor and physician John Kitzhaber of Oregon, and Gov. Jennifer Granholm of Michigan.
Only two hours before Daschle withdrew, Nancy Killifer, Obama's choice to be "Chief White House Performance Officer" pulled out of consideration for the job because of unpaid taxes on a household employee.
Republicans have criticized the nominees for not adhering to tax law, while the administration negotiates new economic policies.
Perennial problems: "I" and "Hello..."
I wanted to post now about two exciting ideas we'll be working on later this semester. The first, a manifesto by radio reporter Sean Cole tackles the always dicey subject of "first person" reporting. It's something I grew up in this business trying to avoid (for no good reason, mind you) only to find that it can be one of the best tools in the arsenal of any reporter.
Sean is unquestionably one of the most talented radio reporters in America, and has really great reasons for placing himself in stories. Once we hit the serious "feature" reporting part of our class, we'll be revisiting his ideas.
Another problem reporters often face is addressed in this perfectly titled piece by Jen Nathan: "Sticking Your Microphone Where it Doesn't Belong." Once we start getting out into the world with our digital recorders, you'll see what we're talking about. It can be difficult knowing how, and when to prompt people for information...and then when to prompt them for even more. Remember - you're a reporter...you're used to asking questions. Most of your interview subjects are rarely, if ever interviewed.
We'll be chatting about this in a few weeks as well.
Tuesday, February 03, 2009
Snowy night assignment
If you've joined me for tonight's "Writing for the Ear" - thanks...hope everyone is warm and safe.
Next week, we're going to start on the first real section of the class: Newscast writing. It's where we learn to quickly write in a broadcast style...on deadline. We'll be training on the AP/ENPS system, and begin writing assignments in class.
Tonight, we're going to show an example of this kind of writing, and have you try to replicate it. So, if you took notes last week, and you read the first few chapters in the book (especially #3 "Writing for Broadcast") you have a sense of what's different about radio writing from say, what you read in the newspaper.
For one example, check out the opening to chapter 3, where we compare a paragraph in the Washington Post to the style used by NPR in the same story. For a more current example, here's The Hartford Courant's version of a story about (our favorite) Mayor Eddie Perez in court today:
Mayor Eddie A. Perez pleaded not guilty to bribery charges in Superior Court in Hartford this morning and asked that his case go immediately to trial. Instead, his case was continued to March 3.
Also this morning, former city employee Edward Lazu pleaded not guilty to bribery and second-degree forgery charges.
Perez's mother, his wife Maria and his lawyer, Hubert J. Santos, accompanied him to court this morning. The mayor was arrested last Tuesday and charged with bribery, fabricating evidence and conspiracy to fabricate evidence in connection with allegedly deeply discounted work done at his home by city contractor Carlos Costa, owner of USA Contractors.
The case against Perez is connected to roughly $20,000 he paid Costa for a new kitchen counter and a renovated bathroom. Costa was arrested last Monday and charged with bribery, fabricating evidence and conspiracy to fabricate evidence. As Costa worked on the $7.3 million Park Street project, he also worked on the mayor's Bloomfield Avenue house beginning in 2005. He did so without proper permits, and some of the work was done by an unlicensed contractor. The work was completed in 2006, and Perez has said he did not pay Costa for the work — estimated to be worth $40,000 — until July 2007.
Echoing what he said after investigators executed a search warrant on his home in August 2007, Perez called his decision to hire Costa a "lapse in judgment."
"There is no excuse for it. I apologize for putting my family and my city under this situation," Perez said. But he added, "At the end of the day, a lapse in judgment is not a crime."
Lazu was also arrested last Tuesday and charged with one count of receiving a bribe and two counts of second-degree forgery. As a city contract compliance supervisor, Lazu was in charge of overseeing the employee who monitored Costa's work on Park Street. But state investigators also have asked questions about a driveway that Costa partially built for Lazu in 2004. Lazu paid Costa $1,100 to begin work on the driveway at Lazu's Broadview Terrace house, Brown has said. Costa did some work until a neighbor complained, and the work was never completed.
State criminal investigators have been looking into allegations of political corruption in the mayor's administration since early 2007, seeking documents and secret testimony and forming an investigatory grand jury in October 2007.
Now, here's the same story, written by WNPR's Anna Sale today:
Hartford mayor Eddie Perez pled not guilty to charges of bribery and fabricating evidence on Tuesday, and his attorney made clear he wants to move swiftly onto a trial.
Perez did not speak during his 5-minute arraignment in Superior Court, but his lawyer Hubert Santos told Judge Julia Dewey that the mayor wants to get right to fighting the charges against him.
"We would ask for an immediate trial, your honor. We're prepared to go to trial today."
But state prosecutor Christopher Alexy told the judge that the state has amassed a dozen bankers boxes of evidence that he thinks the defense may want to review before trial.
Judge Dewey agreed, and asked both sides to work with a court scheduler to set a "realistic date" for trial. She scheduled a pretrial conference for March 3.
Mayor Eddie Perez was arrested last week after a more than a year-long grand jury investigation. State prosecutors allege that Perez took a bribe when he had a city contractor renovate his home in 2005.
Perez did not pay for the work until two years later, after investigators questioned him about it. Prosecutors say that $20,000 payment only covered about half of the value of the kitchen and bathroom upgrades.
Perez has apologized for hiring the city contractor for work on his home, but denies that he broke any law. He says he has no plans to resign.
So, what's different about these two stories? One's shorter, of course, one has more detail. But what is it about the writing that's different? If you've read far enough in the book, and listened to some broadcast news, you have a pretty good idea. I have for you a few very simple re-writing excercises to do for next week. I'm going to give you some links to print versions of stories, that I'd like for you to re-write in a more radio-friendly way. That means:
1. Shorter sentences.
2. Paraphrase the quotes (or soundbites) into your own words.
3. Write the way you speak.
These stories should flow, and make sense as read. Make sure that when you read these stories, they're no more than one minute long each. If you have questions about how to do this, you'll find most of them in that marvelous chapter 3...and some of the "Basic Rules" we talked about last week. Please post them to the comments section of this blog post. I'll give you until tomorrow evening, since we're getting a late start. Then, we'll go over next week. Here are the selections...and have fun:
Daschle Withdraws
http://www.nytimes.com/2009/02/04/us/politics/04obama.html?_r=1&hp
Hospital Merger
http://www.courant.com/news/health/hc-webuconn0204feb04,0,1851156.story
State to help Sub Base
http://www.theday.com/re.aspx?re=40c9f0a7-f5ed-4c5d-8727-a8b272c67dd0
Tuesday, January 27, 2009
Busy news day to kick things off
As we dive into our Spring semester of "Writing for the Ear," I have to admit. I'm not really thinking all that much about class. Sorry. That's what happens when you do the news, and a really big story hits, that shakes up your day. That's pretty much what happened today with the arrest of Hartford Mayor Eddie Perez.
The good thing about all this? It gives us a chance to hear up to the minute examples of the different kinds of reporting we'll be exploring during class. So, here goes...my sermon about terminology you should know:
If you don't work in the business, it's pretty hard to know what people are talking about when they say things like "copy" or "vo-sot."
Newscast: This could be a lot of things...five minutes of headlines read by a radio reporter at 6 a.m. or maybe a full, half-hour television broadcast, complete with weather and sports. For our purposes, a newscast is: The framework within which we place stories. We'll be talking in later classes about how to "stack" a newscast, or choose the important stories in the right order.
Reader: That's when the newscaster reads news copy (otherwise known as a script) directly to listeners. It's news that he has written himself, and doesn't include any additional outside sound. Many radio stations provide newscasts that are little more than a series of readers, strung together taken from wire service copy. It might look something like this:
The state Supreme Court ordered a new sentence today for a man convicted of shooting a New Haven police officer. The high court unanimously upheld the conviction of Arnold Bell, but found part of a law giving him a stiffer sentence as a persistent dangerous offender unconstitutional.
Scripter: That's when the newscaster reads copy, and inserts a soundbite into the the story. Of course, there's a million ways to refer to the soundbite, like: cut, bite, clip, sound on tape (or SOT), tape (that's pretty old-fashioned), audio, and probably a few I'll forget. Here's the same story, written as a scripter:
The state Supreme Court ordered a new sentence today for a man convicted of shooting a New Haven police officer. The high court unanimously upheld the conviction of Arnold Bell, but found part of a law giving him a stiffer sentence as a persistent dangerous offender unconstitutional. Bell's attorney, Joe Blow said the ruling was a victory:
Bell :12 "...will be vindicated."
Bell was convicted of shooting officer Jane Smith in 2001.
Another name for the scripter is the donut...and it's easy to see why. There's some stuff...then a hole where the soundbite goes, then more stuff. Many TV stations (they call them VO-SOTs, or voiceovers with sound on tape...catchy, no?), and some radio stations dispense with the second bit of "stuff" and just move on to the next story.
Spot (or Wrap): Basically, it's the same idea as a scripter, but a reporter is delivering the story...not a newscaster. A spot is short (for our class, :50 to 1:30) and it usually breaks news. It's the first reporting on a story, and is meant to get the basics out there. That doesn't mean spots can't be full of information. Each spot includes a "Host Lead" or "Host Intro" read by an anchor. It gives a description of what's to come. Here's an example from today by WNPR reporter Anna Sale. First the Host Intro:
Hartford Mayor Eddie Perez was arrested today on charges of bribery and fabricating evidence in connection with renovations at his home by a city contractor. WNPR's Anna Sale reports. Here's the link to the story itself.
Here's another spot from today's coverage by Lucy Nalpathanchil. First, the host intro: While Mayor Eddie Perez maintains his innocence on corruption charges and says he won't resign, Hartford City Council may have a say in Perez's future. WNPR's Lucy Nalpathanchil reports.
Now, the link to hear the story.
It's still a spot that's breaking news...but it's taking a different angle. Some people might call this a "sidebar" story - an old newspaper term. I just call it good reporting...following up on all aspects of an important story.
Feature: This is what you'll be producing by the end of this class. It's a longer story than a spot, although it has some of the same elements (news at the top of the story, background, voices of stakeholders, a conclusion that moves the story forward) as a spot, but takes more time, and provides more depth. Here's a good recent example of a story driven by a need to more fully develop an ongoing news story. And, another example, where we took a "micro" look at a bigger problem.
You can do more listening here to different kinds of stories that fit into these categories.
Okay, now those terms make sense, but we can't do much with them, unless we first explore the "Basic Rules of Broadcast Writing."
For next week - we'll get more depth on these subjects by tearing into our textbook, "Sound Reporting" - and reading the first four chapters.
The good thing about all this? It gives us a chance to hear up to the minute examples of the different kinds of reporting we'll be exploring during class. So, here goes...my sermon about terminology you should know:
If you don't work in the business, it's pretty hard to know what people are talking about when they say things like "copy" or "vo-sot."
Newscast: This could be a lot of things...five minutes of headlines read by a radio reporter at 6 a.m. or maybe a full, half-hour television broadcast, complete with weather and sports. For our purposes, a newscast is: The framework within which we place stories. We'll be talking in later classes about how to "stack" a newscast, or choose the important stories in the right order.
Reader: That's when the newscaster reads news copy (otherwise known as a script) directly to listeners. It's news that he has written himself, and doesn't include any additional outside sound. Many radio stations provide newscasts that are little more than a series of readers, strung together taken from wire service copy. It might look something like this:
The state Supreme Court ordered a new sentence today for a man convicted of shooting a New Haven police officer. The high court unanimously upheld the conviction of Arnold Bell, but found part of a law giving him a stiffer sentence as a persistent dangerous offender unconstitutional.
Scripter: That's when the newscaster reads copy, and inserts a soundbite into the the story. Of course, there's a million ways to refer to the soundbite, like: cut, bite, clip, sound on tape (or SOT), tape (that's pretty old-fashioned), audio, and probably a few I'll forget. Here's the same story, written as a scripter:
The state Supreme Court ordered a new sentence today for a man convicted of shooting a New Haven police officer. The high court unanimously upheld the conviction of Arnold Bell, but found part of a law giving him a stiffer sentence as a persistent dangerous offender unconstitutional. Bell's attorney, Joe Blow said the ruling was a victory:
Bell :12 "...will be vindicated."
Bell was convicted of shooting officer Jane Smith in 2001.
Another name for the scripter is the donut...and it's easy to see why. There's some stuff...then a hole where the soundbite goes, then more stuff. Many TV stations (they call them VO-SOTs, or voiceovers with sound on tape...catchy, no?), and some radio stations dispense with the second bit of "stuff" and just move on to the next story.
Spot (or Wrap): Basically, it's the same idea as a scripter, but a reporter is delivering the story...not a newscaster. A spot is short (for our class, :50 to 1:30) and it usually breaks news. It's the first reporting on a story, and is meant to get the basics out there. That doesn't mean spots can't be full of information. Each spot includes a "Host Lead" or "Host Intro" read by an anchor. It gives a description of what's to come. Here's an example from today by WNPR reporter Anna Sale. First the Host Intro:
Hartford Mayor Eddie Perez was arrested today on charges of bribery and fabricating evidence in connection with renovations at his home by a city contractor. WNPR's Anna Sale reports. Here's the link to the story itself.
Here's another spot from today's coverage by Lucy Nalpathanchil. First, the host intro: While Mayor Eddie Perez maintains his innocence on corruption charges and says he won't resign, Hartford City Council may have a say in Perez's future. WNPR's Lucy Nalpathanchil reports.
Now, the link to hear the story.
It's still a spot that's breaking news...but it's taking a different angle. Some people might call this a "sidebar" story - an old newspaper term. I just call it good reporting...following up on all aspects of an important story.
Feature: This is what you'll be producing by the end of this class. It's a longer story than a spot, although it has some of the same elements (news at the top of the story, background, voices of stakeholders, a conclusion that moves the story forward) as a spot, but takes more time, and provides more depth. Here's a good recent example of a story driven by a need to more fully develop an ongoing news story. And, another example, where we took a "micro" look at a bigger problem.
You can do more listening here to different kinds of stories that fit into these categories.
Okay, now those terms make sense, but we can't do much with them, unless we first explore the "Basic Rules of Broadcast Writing."
For next week - we'll get more depth on these subjects by tearing into our textbook, "Sound Reporting" - and reading the first four chapters.
Saturday, January 17, 2009
Welcome to a new semester!
Classes start on Tuesday the 20th - so I'm getting ready by posting a few things on our class blog for JRN 521 - "Writing for the Ear." This blog is mostly for students in our Quinnipiac University class, but outsiders take a look now and again, too. It's filled with links to stories on public radio, writing tips, and current news events.
The class this semester will be producing work for an ongoing WNPR series "This Economic Life" (sorry Ira Glass) which looks at the changes people are making in a struggling economy. You'll soon get to hear some stories from last semester - production problems at wnpr.org have slowed the presentation of the Fall 2008 stories...but all are still very timely.
You'll also get visits from skilled reporters and producers, like Diane Orson and Catie Talarski.
Below is the syllabus for the class - you should also have access to the text, by NPR's Jonathan Kern, called Sound Reporting.
Looking forward to the fun!
Spring 2009 Writing for the Ear Syllabus
Syllabus//JRN 521B Writing for the Ear//Spring 2009//
Tuesday
Contact Information:
- Work Phone, WNPR: 860-275-7301
- Email (please use both): jkdankosky@quinnipiac.edu, jdankosky@wnpr.org
- Website: http://www.listeninglab.org
Required:
- Sound Reporting: The NPR Guide to Audio Journalism and Production by Jonathan Kern (
- Olympus Digital Recorder (WS-110, WS-311M) – or similar audio recording device that allows for mp3 or WAV recording, and can upload audio via USB. More information: http://www.amazon.com/Olympus-WS-311M-Digital-Recorder-Player/dp/B000VDNC9M/ref=dp_cp_ob_e_title_1
- Audacity Free Audio Software Editor: http://audacity.sourceforge.net/
- Writing News for Broadcast by Edward Bliss Jr. and James L. Hoyt
- Writing Broadcast News: Shorter, Sharper, Stronger by Mervin Block
- Associated Press Broadcast News Handbook
The schedule for this class is free-flowing, according to news events and class progress. You can count on one mid-semester project deadline and one final project due on the last day of class.
Quinnipiac loans professional radio flash recorders, cables and microphones to students on a short-term basis. We will have a tutorial on how to use and sign out this equipment – but the sign-out times present limitations for our class/production schedule. As such, I am suggesting that you purchase a low-cost digital recorder, whose output can interface with Pro Tools digital editing software.
We will also have a tutorial on how to use the AP ENPS system in our newsroom, and the Pro Tools audio editing suites. These tutorials are very important and will require mandatory attendance. I will also briefly be talking about Audacity, a free audio editor, which you can download and use in lieu of Pro Tools – but this software will not be supported by QU staff.
- This course provides an overview of the skills necessary to become a successful broadcast writer, editor and producer. We will examine the basic practices of broadcast journalism, and the differences between commercial and public radio, print and television, and documentary news writing. The focus will be on “public radio style” reporting.
- The class will function as a workshop, simulating a radio newsroom. Students will be expected to write on deadline, critique, edit and discuss their work and that of others. This will include writing exercises in class, and reporting assignments outside of class.
- The instructor will serve as editor, helping students shape their work. We will examine the role of editor and the necessary elements for a strong editor/reporter relationship.
- Each class will feature listening sessions, with work by national and local news media. Students will be asked to discuss specific elements in these stories for accuracy and effectiveness. We’ll use these examples to encourage creativity and individual style.
- Students will do field reporting and learn to incorporate recorded sound into their news writing. They will use editing software to craft their final pieces.
- Students will contribute stories to a radio journalism blog and podcast called “The Listening Lab” (www.listeninglab.org). This site will also feature online discussion. It is recommended that you check this site frequently for updates. Note: Classes may be conducted remotely using this site to allow students ample time to report and edit features, and allow for maximum interaction of instructor/editor. The schedule for these remote classes will be subject to change.
- The 15 classes will be broken into thirds. The first third will include tutorials on equipment, lectures on terminology and craft, listening sessions, and deadline writing exercises. The second third will be devoted to the craft of reporting, writing and editing longer form stories. The last third will be devoted to a final project - a public radio style, multi-source news report. This final project will align with one of three ongoing WNPR series: This Economic Life, Regionalization: State of Change or The Changing Face of Connecticut.
- The best student work may be featured on WNPR and wnpr.org.
- We will have occasional guest speakers from the media, academia and politics.
Attendance and Class Participation:
Please attend class regularly, and be on time. Since we’re conducting this class like a newsroom, please treat it as you would a job. Class participation includes discussion, critique and listening sessions. It also includes the daily reading of at least one newspaper, and listening to radio programs as assigned. It’s a news class, so you have to be engaged in the news. Also, when assignments are due for editing, we will have class periods where the instructor will be working one-on-one with students on scripts, and-or audio. Please use this time to do research and writing for class projects. Just like at work, “surfing the web” for personal information during these periods is not acceptable.
We have 15 total classes scheduled, and as previously noted, not all of them will be in our regular classroom. If you have more than three absences or late arrivals you can expect to have your letter grade lowered. The instructor will accept appeals if extenuating circumstances exist.
Grading:
Regular writing exercises and class projects will be critiqued for quality, accuracy, clarity and creativity. These critiques are part of the editor’s job to help you make your work better, but they are not the main indicator of what your letter grade will be. Here’s how the grading works…it’s pretty simple: Assume you have an “A” in the class, unless you…
- Turn in an assignment late
- Turn in an incomplete assignment
- Fail to follow instructions for the assignment
- Turn in factually incorrect information
- Fail to follow the above guidelines for attendance
Refer to the Quinnipiac University Academic Integrity website for information about Academic Integrity and proper student behavior. Students are expected to be familiar with these university policies. Forms of dishonesty include:
- Cheating or helping another to cheat on an exam
- Using a paper authored by someone other than yourself
- Plagiarizing another’s written work (papers or outlines), in full or in part (includes failure to properly cite any or all sources according to MLA style)
- Deliberately distorting information
- Falsifying information (ex - reason for absence)
Students found guilty of any of the above will be subject to sanctions in class, as determined by the professor, and will also be reported to the Academic Integrity Board.
Americans with Disabilities Act:
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