There are two kinds of writers in the world: the kind that just do it and the kind who can do it and talk about it.
John Burnett, a tall slim NPR reporter who plays a mean blues harp, grooves soulfully into the second class. I listened and watched for two hours as he explained his news values and writing methods at a recent Poynter seminar. He was a walkin', talkin' toolbox for writers. In the notes below, I did my best to capture John's most interesting ideas and useful techniques:
A story is a journey that transports us. Turn your script into a story.
Get your own story, not necessarily the official story.
"Do us a postcard" -- the postcard is a story form with a voice.
Public radio is in the business of debunking, providing the alternative view.
Let readers make the "ah-ha!" for themselves: recognize the difference between revealing and imposing a meaning.
|
|
TALLEST AMERICAN AT 'DEATH TO AMERICA' RALLY (Real Audio)
"The mind's eye is stimulated by vigorous, precise writing married to vivid sound. In this audio postcard from Pakistan in October 2001, the candy, the payoff, isn't delivered until the last third of the story. Then the listener gets to make his own 'ah-ha' --there's no preaching from the writer. What's more, it debunks conventional wisdom that all protestors want to drink the blood of Americans. It gives us the answer that many listeners seek: "What's it really like over there?" And it delivers a surprise, something unexpected, which public radio should strive to do." -- John Burnett
DOCTOR JOHN (Real Audio)
"Mac Rebennack possesses one of the greatest voices in American music. Anticipate the sound before going out. What was my dream scene? I
didn't want to sit down and interview Dr. John in a studio. I've heard that. I wanted to tour the old 'hoods in New Orleans with him, and that's what we did for three hours. I wanted him out there in his element, being himself.
Listen to the whole story, and get yourself some fresh air molecules." -- John Burnett | |
Connect the humanity of the subjects (even if they are sea turtles) with the humanity of the listener.
See the world as a storehouse of story ideas. Be awestruck.
A story has tension, then a payoff -- candy.
Anticipate the story. Anticipate the sound before you go into the field. And don't depend on luck. Ask for good talkers in advance.
Get the subject in a place where he can be himself, relax, and breathe his own air.
Get there early, and stay late. Look for details, the picture of ducks on the wall. Ask your interview subject about the ducks -- loosen him up.
Recognize the difference between sound and noise.
If everyone is sticking the mic in the turtle's butt, stick yours in its mouth. Hear her breathe as she lays her eggs on the beach.
Don't give things away too early. Make the listener lean toward the speakers.
Stop and take the place in. Take lots of notes. Be there now.
Listen to what you are noticing. Be aware of your intuition. Preserve the evidence of your dominant impression.
Talk out the story with an editor. It will help you organize your thoughts.
What surprised, delighted, shocked, outraged, annoyed you? Use that.
Leave conventional wisdom in tatters. Avoid clichιs of language, of sound, of vision.
Actualities form the skeleton around which the story is constructed. Tape is the engine that moves the story forward.
Reveal character in the saying of the thing.
Select the cuts before you start "writing."
Think in terms of scenes. Put us in that place.
Hear the music of the writing: substitutions, rhythmic variations, creative phrasing.
Short, declarative sentences. Read it aloud. Clutter is a disease. Listen to Miles Davis to hear what he leaves out.
Help the audience "surf" through dense information. Do you want to keep listeners, or feed them vegetables?
Think of yourself not as a newscaster, but a narrator.
Seven Deadly Sins of Radio Writing:
1. Wordiness
2. Weak or passive verbs
3. Redundancy
4. Cliches
5. Too much information
6. No transitions
7. Lost opportunities/unimaginative sentences
