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June 21 2013

14:27

Pinned: Story trailers, a notable narrative, writers on rejection, writers on Twitter, Michael Hastings’ tips for young journalists

Pinned this week, for your storytelling pleasure:

Inspired: Story trailers. Esquire made not one but two (a 46- and 20-second version) for Chris Jones’ “Animals,” a taut narrative about the Zanesville, Ohio, zoo massacre. And Georgia’s Macon Telegraph just launched one for “Searching for Shorty: The murder of an unknown man,” a narrative coming this Sunday by enterprise reporters Amy Leigh Womack and Joe Kovac Jr.:

Kovac makes these himself. We asked him how he does it, and why, and here’s what he told us yesterday:

This was actually the third “trailer” I’ve done for stories in the past year and a half. They’re all fairly pedestrian, done with half-a-decade-old iMovie software on the Mac in my kitchen. (Not low-budget, but rather no-budget.) “Killing in the Country: The Death of Trevorius Thomas,” for instance, incorporates audio I recorded on my iPhone at the funeral; I used a photo I snapped at the scene as the backdrop. I made “Phantom on Emery Highway“ on a Sunday night. I filmed it through an open sunroof with a point-and-shoot camera. The idea was to follow the same route that police thought the hit-and-run driver took. Which I did. The clip ends at the spot where the man was killed. I had hoped to film it at 3:30 a.m. to capture an accurate depiction of what the traffic might have been like when the man was run over. But I figured late on a Sunday was good enough. I’ve tried to be as careful as I can on these not to go over the top with the effects and bells and whistles that iMovie offers. As a novice on video, I think sometimes there’s an urge to “use all the toys.” I’ve tried to keep the trailers simple. As we might say in a print newsroom, Write it straight.

Joe Kovac Jr.

Joe Kovac Jr.

I’m pretty much a shade-tree mechanic when it comes to video. At best. I can write “grabber” copy well enough and I think that’s why I use it instead of voiceovers. I’ve made most of these in my spare time, off the clock. But I’ve found that distilling a 5,000-word story into a minute or so of video really makes you focus as a writer. On “Killing in the Country,” about a drug deal gone bad, I made the trailer the weekend before I started writing. It was agonizing, tedious, making the text match the sound, learning the iMovie ropes trial and error. So much of it is timing. But bottom line, it forces you to find the heart of the story. But again, low-budget as it may look, it was painstaking. The “Killing in the Country” clip took … well, let’s just say longer than I’d have liked. Hours.

I wouldn’t want to do trailers on everyday features, but on a piece I’ve spent a few weeks or months reporting it can be worth it. The hope, of course, is that the videos will drive readers to our site for the stories. Hard to gauge whether it works. It’s still kind of cool.

Notable narrativesThe Washington Post’s Stephanie McCrummen wrote a remarkable piece recently about a mother, a son and schizophrenia. A passage:

It has been 10 years since he began thinking his classmates were whispering about him, four years since he started feeling angry all the time, and two years since he first told a doctor he was hearing imaginary voices. It has been 20 months since he was told he had a form of schizophrenia, and 15 months since he swallowed three bottles of Benadryl and laid down to die, after which he had gotten better, and worse and, for a while, better again, or so Naomi had thought until an hour ago, when they were in the therapist’s office and Spencer said that his head was feeling “cloudy.” 

“Wait —” she said, interrupting. “You described it as a cloudy feeling?”

Cloudy was the big, flying red flag that she had learned to dread. It might simply be a side effect of one of his five medications. But it could also be the quiet beginning of her firstborn son falling apart again, of hallucinations, or a dive into depression, or some other dimension of his illness that Naomi has yet to fathom.

“Yeah,” Spencer said. “Cloudy. It feels like these winds are blowing inside my head.”

Inspired, Part 2: Twelve famous writers on rejection, which in this fractious writing universe appears applicable across disciplines (“To ward off a feeling of failure, she joked that she could wallpaper her bathroom with rejection slips, which she chose not to see as messages to stop, but rather as tickets to the game.”—Anita Shreve) and Daily Rituals: How Artists Work, a new book about the habits of 161 creative minds. From the website of the author, Mason Currey:

Here are: Anthony Trollope, who demanded of himself 3,000 words each morning (250 words every 15 minutes for three hours) before going off to his job at the postal service, which he kept for 33 years during the writing of more than two dozen books; George Balanchine, who liked to do his own laundry and who did most of his “work” while ironing; George Gershwin, who worked for 12 hours a day, from late morning to midnight, composing at the piano in pajamas, bathrobe, and slippers.

Recommended: At NewYorker.com, Thomas Beller wrote about writers and Twitter:

Writing on Twitter brings the energy of a début to every phrase. You could say it imbues writing with a sense of performance, though writing has always involved performance in the sense of performance anxiety. The question for the writer who is leaving multiple pages crumpled on the floor—literally or figuratively—is for whom is that line, or paragraph, unsatisfactory? Who is the appraiser of one’s own unpublished, or even unwritten, work?

The editor Ted Solotaroff wrote an essay called “A Few Good Voices In My Head,” in which he talked about managing this feeling of having an audience. His prescription is summed up in his title: a couple of trusted voices with whom a writer will engage in a dialogue—sometimes literally, more often not. Twitter is messing with this equation: I have many more voices in my head than I ever had before.

Cartoontorials: It’s not that big a deal but really, people, isn’t it time to stop double-spacing after a period in your first drafts? The typewriter imperative is over.

GearThese notebooks, spotted by former Arizona Republic reporter Jamiee Rose. Not so great for reporting, maybe (we prefer the long narrow classic ones: easily tuckable or back-pocketable), but just fine for sketching out story notes and structures.

In memorium: Let’s just agree that this was one crappy week. Rolling Stone and BuzzFeed reporter Michael Hastings died at 33 in a Los Angeles car crash; the actor James Gandolfini died suddenly at 51, while vacationing in Italy; the Oregonian announced a publishing scale-back plus layoffs and the publisher referred to the newsroom as a “content organization.” (“Kill me,” tweeted Gene Weingarten.) Worth remembering as we shake off a tough one: Hastings’ 10 tips for young journalists, which in the hours after his death circulated widely beyond his year-old reddit AMA. They included:

By the second sentence of a pitch, the entirety of the story should be explained. (In other words, if you can’t come up with a rough headline for your story idea, it’s going to be a challenge to get it published.)

And:

Mainly you really have to love writing and reporting. Like it’s more important to you than anything else in your life–family, friends, social life, whatever. 

Join us on Pinterest for more good stuff, and find the burgeoning “Pinned” archives here.

January 10 2011

16:11

Narrative on deadline: stories on the shooting of Representative Gabrielle Giffords

Doing narrative stories on the heels of breaking news generally precludes the kind of lyricism often associated with the best examples of the form. Yet it can be a good way to get a framework established on a confusing story – such as the attempted assassination of Rep. Gabrielle Giffords over the weekend.

Building a story from social media, NPR senior strategist Andy Carvin started a Storify timeline just two hours after the shooting began. Early on, NPR and several other outlets mistakenly posted that Giffords had been killed, which is reflected and then corrected in Carvin’s Storify account. (There has been a lot of discussion of the error since, including criticism of NPR and the station’s apology.)

The next day, The New York Times and The Washington Post sites posted text narratives of that deceptively sunny morning outside a Safeway in Tucson. In “Tucson shootings: How Gabrielle Giffords’s event for constituents turned to tragedy,” the Post’s Philip Rucker and Marc Fisher give readers some background on Giffords and her normal schedule, recapturing the feel of what started as a mundane event. When the shooting begins, readers feel the shock and horror of the moment. “A Single, Terrifying Moment: Shots Fired, a Scuffle and Some Luck,” Adam Nagourney’s piece in The New York Times, focuses more tightly on the chaos and violence, opening with a dramatic struggle between bystanders and the gunman as he attempted to reload.

And hours before the Post and the Times had posted their narratives, The Arizona Republic’s Jaimee Rose and Mary Jo Pitzl had turned on a dime to get their own angle by following Daniel Hernandez, Giffords’ brand-new intern, who may have saved her life. “Daniel Hernandez, intern, stays by Gabrielle Giffords’ side,” the brief story of events from Hernandez’s view, added a new perspective on not only the shooting but our understanding of Giffords’ condition in the moments just afterward.

We’ll continue to compile storytelling approaches to the tragic events of this weekend. Please send us links to any related narratives you see.

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