465: Week 4

1. 465: Week 4

2. Today • Brief lecture on reporting and narrative. • Pitch and discuss profile subjects. • Second presentation: AtulGawande. Brittany, Lauren, Matt • Peer Edit. • Group Edit. Jackie, Nicole, Michelle • In-class storytelling exercise if time permits. • Listening exercise: Radio Rookies Star to discuss secondary sources.

3. For next week! • Start REPORTING YOUR PROFILES! • Read Michael Lewis. • Group Edit: Roya and Dana • Group Presentation: Chris, Michael,Christian

4. The Profile • The profile is a term coined in the 1920’s by The New Yorker. • It takes advantage of our intrinsic interest in people. • It is a way to get people to read about something they might not care about. • People magazine (a profiling magazine) was the most successful launch in the last 40 years.

5. The LENS profile • This is a kind of profile where the subject’s ordinariness makes them interesting. • They are people who provide a lens for a larger issue. Examples: urban teachers, foreclosure victims, etc. • Also, there are lens profiles of “aspiring” people- artists, actors, etc. • All profiles have DRAMA. The subject is either involved in drama right now or they overcame drama in the past.

6. Once you pick a subject…. • You can do a profile without someone’s permission but we aren’t doing that now. • You need to make it clear that you are going to be hanging around…. • You need to make it clear that you’ll have to talk to people they know…. • You need to make it clear that you’ll want to be in places where the person is and that you’ll also need to interview them. • If that doesn’t scare them off, you have your subject!

7. But why do I have to hang out with this person….? • You need access because you want to see these people doing what they do…how else are you going to build in action? • Revelation comes from seeing people interacting with others and living their lives. • You learn at least as much by observing as you do by interviewing.

8. Good People Make Good Stories • Your story should have narrative arc! An opening, building tension and resolution! A past, present and future! • You should say….I wonder what is going to happen next! Like in the Michael Lewis profile. • PAY ATTENTION TO YOUR BOREDOM. If you think it is boring, it IS. No amount of fancy writing will make up for poor story selection or inadequate reporting.

9. Think CINEMATICALLY • If you are interviewing someone on the phone, ask them what they are doing. You need to build scenes with ACTION. • Follow them around in more than one place because it gives liveliness and movement. • Ideally you want 3 different scenes in 3 different places. You want to see this person in his or her natural setting to collect dialogue. • Watch interaction!

10. Your story should be character driven. • It should follow the same structure as fiction. • Your story needs a strong character, someone readers will identify with, someone who will interact with others. • There should be conflict, change and resolution.

11. Your subject should change, grow and learn something new….preferably something surprising……it would be great if your subject came to a surprising conclusion that you wouldn’t expect.

12. What makes narrative work… • A story can be told as a sequence of actions. • This happened then that happened then this happened we inevitably want to know what happens next…..

13. Here’s an example…. • So Brett was on the subway platform during afternoon rush hour. It’s mobbed. And down the platform he sees this guy. The guy goes up to one person after another, stands very close, says something……and moves on….. • He’s nicely dressed, doesn’t seem to be asking for money. And he’s getting closer, he approaches person after person, walks up to them, says something quietly and moves on. • And as he gets closer, Brett can hear what he’s saying…..

14. Now……at this point….are you going to stop reading? • No! But why?

15. If you look at it, it’s a completely banal story….a guy sees another guy on a subway platform….where’s the suspense in that…..? • This is the heart of what makes a narrative….a sequence of events that raises a question….what’s the guy saying? • And you’ll probably stick around to find out. • Let’s hear it: • http://www.thisamericanlife.org/radio-archives/episode/75/kindness-of-strangers?act=0#play

16. Then you need reflection…. • So…..there’s an anecdote, a sequence of actions where someone says this happened then this happened and then there’s a moment of reflection about what that sequence means and then onto the next sequence. • It’s like church- you hear a little story from the Bible then the clergy person tells you what it means.

17. Interviewing: It’s your party • If you act nervous, your source will be nervous. • If you want your subject to open up and tell you something real….tell them a personal story and chances are they’ll tell you one in response. • It’s not manipulative….you’re both relaxing enough to actually have a real conversation.

18. The anecdote isn’t enough • So, you get someone to tell you a surprising anecdote but what you really want is for them to tell you things step by step. To SHOW you, not just tell you. • A source shouldn’t say: “And then someone shot a gun at our house.” They should say, “I was standing at the sink making coffee. And I went to sit down at the table and I heard something. LIKE WHAT? Like, I thought someone threw another beer bottle at the house. And I’m looking around to see what the sound was. AND THEN WHAT HAPPENED? And then Kenny came in. HOW DID HE LOOK? He looked white as a ghost and he said…call the police. AND SO WHERE WAS THE GUNSHOT? It came right through the bedroom, CAN YOU SHOW ME?

19. BUT, you have to lead them through. You have to get them to flesh out their anecdotes.

20. Protect your sources • Your obligation is to understand and document their point of view. • If you are going to say anything critical about them, say those things to their face, during the interview. You have to give them a chance to respond.

21. Reflection • Then you have to get them to reflect….. • What’s this all about, what’s the point? • So you say…..what does this say about do-gooders? What does this say about religion? • Try out different questions and eventually you’ll have an answer that can wrap up your piece with reflection.

22. Secondary Sources • Altogether you need at least THREE sources. Your subject and two more. • The first should be an “insider”- this is a person who knows your subject on a personal level. A brother, sister or friend. • The second should be an “outsider”- this is a coworker, expert, fan. Someone who can provide context for this person.

23. A Profile is NOT a Valentine!!! • If you are going to feel bad about telling the truth you need a new subject! • Even in a story about people, you probably need data…reporting. • You want context to figure out if this story is average, typical, etc. • If you see something incongruous…a rich doctor driving a junker- ASK ABOUT IT.

24. Star’s Story or the TAL shouting across the divide story. • When we listen try to notice: • Cinematic scenes • Secondary sources • Narrative Arc: Building tension • Honesty • Focus of story- not general, specific aspect of characters life.