Ron Feemster, who teaches investigative reporting at Hunter, sent this
terrific list of writing pointers in podcasts. Take one a day, and become a
better writer.
You'll notice this resource came from the Poynter Foundation website. It has
been mentioned here before, but it's worth reemphasizing that it is an
extraordinary, multifaceted source of information on journalism. You might
consider making it your homepage.
Meanwhile, thanks to Ron, and if subscribers to this list find anything of
particular interest, share the information, please.
Peter Parisi
---------- Forwarded message ----------
From: Ron Feemster <[log in to unmask]>
Date: Apr 26, 2007 9:44 AM
Subject: Fwd: Writing Tools - Fifty Writing Tools: Quick List
To: "[log in to unmask]" <[log in to unmask]>, "
[log in to unmask]" <[log in to unmask]>, "[log in to unmask]" <
[log in to unmask]>, Anthony Moran <[log in to unmask]>, Forrest Barnett <
[log in to unmask]>, Janice Harrison <[log in to unmask]>, Laura
Aguinaga <[log in to unmask]>, Marisol Pereira <[log in to unmask]>, Ron
Feemster <[log in to unmask]>, Stephanie Williams <
[log in to unmask]>, Steven Antioco <[log in to unmask]>,
steven pradia <[log in to unmask]>, "Steven Pradia (cuny)" <
[log in to unmask]>, Sudip Mukherjee <[log in to unmask]>,
Yashika Walker <[log in to unmask]>
---------- Forwarded message ----------
From: Poynter Institute < [log in to unmask]>
Date: Apr 26, 2007 8:01 AM
Subject: Writing Tools - Fifty Writing Tools: Quick List
To: [log in to unmask]
<http://www.poynter.org/>
About this blog <http://www.poynter.org/content/content_view.asp?id=103940>
Ask a question about writing <[log in to unmask]>
Contributors:
<http://www.poynter.org/roy>
<http://www.poynter.org/content/content_view.asp?id=103835>
Roy Peter Clark <http://www.poynter.org/content/content_view.asp?id=103835>
<http://www.poynter.org/drink>
Dr. Ink <http://www.poynter.org/column.asp?id=1&aid=15416>
<http://www.poynter.org/column.asp?id=78&aid=103943> Fifty Writing Tools:
Quick List <http://www.poynter.org/column.asp?id=78&aid=103943>
The Honest Writer <http://www.poynter.org/honestwriter>: Exploring the line
between fact & fiction
Roy's Reading List<http://www.poynter.org/search/category.asp?k=Roy%27s%20Reading%20List&cid=78>
: Books recommended on this blog
Subscribe to this blog's RSS
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newsletter<http://www.poynter.org/subscribe.to.writingtools>
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Buy the book<http://www.amazon.com/gp/redirect.html?link_code=ur2&tag=poynterorg-20&camp=1789&creative=9325&location=http%3A%2F%2Fwww.amazon.com%2Fgp%2Fproduct%2F0316014982%2Fref%3Dpd_rvi_gw_1%3F%255Fencoding%3DUTF8%26v%3Dglance%26n%3D283155>:
"Writing Tools: 50 Essential Strategies for Every Writer"
<http://www.amazon.com/gp/redirect.html?link_code=ur2&tag=poynterorg-20&camp=1789&creative=9325&location=http%3A%2F%2Fwww.amazon.com%2Fgp%2Fproduct%2F0316014982%2Fref%3Dpd_rvi_gw_1%3F%255Fencoding%3DUTF8%26v%3Dglance%26n%3D283155>
Other books by Roy Peter Clark:
Free to Write: A Journalist Teaches Young Writers
<http://www.amazon.com/gp/redirect.html?ie=UTF8&location=http%3A%2F%2Fwww.amazon.com%2FFree-Write-Journalist-Teaches-Writers%2Fdp%2F043508125X%2Fsr%3D8-1%2Fqid%3D1168027584%3Fie%3DUTF8%26s%3Dbooks&tag=poynterorg-20&linkCode=ur2&camp=1789&creative=9325>
Journalism: The Democratic
Craft<http://www.amazon.com/gp/redirect.html?ie=UTF8&location=http%3A%2F%2Fwww.amazon.com%2FJournalism-Democratic-G-Stuart-Adam%2Fdp%2F0195182073%2Fsr%3D1-1%2Fqid%3D1168027751%3Fie%3DUTF8%26s%3Dbooks&tag=poynterorg-20&linkCode=ur2&camp=1789&creative=9325>
Coaching Writers<http://www.amazon.com/gp/redirect.html?ie=UTF8&location=http%3A%2F%2Fwww.amazon.com%2FCoaching-Writers-Editors-Reporters-Together%2Fdp%2F0312049374%2Fsr%3D1-1%2Fqid%3D1168027794%3Fie%3DUTF8%26s%3Dbooks&tag=poynterorg-20&linkCode=ur2&camp=1789&creative=9325>
America's Best Newspaper
Writing<http://www.amazon.com/gp/redirect.html?ie=UTF8&location=http%3A%2F%2Fwww.amazon.com%2FAmericas-Best-Newspaper-Writing-Prizewinners%2Fdp%2F0312443676%2Fsr%3D1-2%2Fqid%3D1168027838%3Fie%3DUTF8%26s%3Dbooks&tag=poynterorg-20&linkCode=ur2&camp=1789&creative=9325>
The Changing South of Gene Patterson: Journalism and Civil Rights,
1960-1968<http://www.amazon.com/gp/redirect.html?ie=UTF8&location=http%3A%2F%2Fwww.amazon.com%2FChanging-South-Gene-Patterson-Journalism%2Fdp%2F0813025745%2Fsr%3D1-1%2Fqid%3D1168027894%3Fie%3DUTF8%26s%3Dbooks&tag=poynterorg-20&linkCode=ur2&camp=1789&creative=9325>
The Values and Craft of American
Journalism<http://www.amazon.com/gp/redirect.html?ie=UTF8&location=http%3A%2F%2Fwww.amazon.com%2FValues-Craft-American-Journalism-Institute%2Fdp%2F0813028477%2Fsr%3D1-1%2Fqid%3D1168027940%3Fie%3DUTF8%26s%3Dbooks&tag=poynterorg-20&linkCode=ur2&camp=1789&creative=9325>
------------------------------
Also by Roy Peter Clark:
Poynter articles<http://www.poynter.org/search/results_article.asp?cdl_userID=1711&btn_submit=true>
Advice from Dr. Ink <http://www.poynter.org/column.asp?id=1>
Serial narrative
"Three Little Words"
<http://www.poynterextra.org/extra/3LittleWords/3lw_intro.htm>
More Writing Tools <http://www.poynter.org/column.asp?id=78>
Unsubscribe from Writing
Tools<http://www.poynter.org/sub.asp?nid=228&uid=44635>
*Poynteronline*
Writing Tools
TUESDAY, APRIL 24, 2007
Fifty Writing Tools: Quick List
Use this quick list of Writing Tools as a handy reference. Copy it and keep
it in your wallet or journal, or near your desk or keyboard. Share it and
add to it.
I. Nuts and Bolts
1. Begin sentences with subjects and verbs.
Make meaning early, then let weaker elements branch to the right.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1026/podcast.asp?id=1026>|
Download <http://www.poynter.org/media/mediacast/pub/1026/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1026/podcast.xml>
2. Order words for emphasis.
Place strong words at the beginning and at the end.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1027/podcast.asp?id=1027>|
Download <http://www.poynter.org/media/mediacast/pub/1027/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1027/podcast.xml>
3. Activate your verbs.
Strong verbs create action, save words, and reveal the players.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1028/podcast.asp?id=1028>|
Download <http://www.poynter.org/media/mediacast/pub/1028/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1028/podcast.xml>
4. Be passive-aggressive.
Use passive verbs to showcase the "victim" of action.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1029/podcast.asp?id=1029>|
Download <http://www.poynter.org/media/mediacast/pub/1029/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1029/podcast.xml>
5. Watch those adverbs.
Use them to change the meaning of the verb.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1034/podcast.asp?id=1034>|
Download <http://www.poynter.org/media/mediacast/pub/1034/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1034/podcast.xml>
6. Take it easy on the -ings.
Prefer the simple present or past.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1035/podcast.asp?id=1035>|
Download <http://www.poynter.org/media/mediacast/pub/1035/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1035/podcast.xml>
7. Fear not the long sentence.
Take the reader on a journey of language and meaning.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1036/podcast.asp?id=1036>|
Download <http://www.poynter.org/media/mediacast/pub/1036/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1036/podcast.xml>
8. Establish a pattern, then give it a twist.
Build parallel constructions, but cut across the grain.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1037/podcast.asp?id=1037>|
Download <http://www.poynter.org/media/mediacast/pub/1037/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1037/podcast.xml>
9. Let punctuation control pace and space.
Learn the rules, but realize you have more options than you think.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1046/podcast.asp?id=1046>|
Download <http://www.poynter.org/media/mediacast/pub/1046/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1046/podcast.xml>
10. Cut big, then small.
Prune the big limbs, then shake out the dead leaves.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1047/podcast.asp?id=1047>|
Download <http://www.poynter.org/media/mediacast/pub/1047/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1047/podcast.xml>
II. Special Effects
11. Prefer the simple over the technical.
Use shorter words, sentences and paragraphs at points of complexity.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1048/podcast.asp?id=1048>|
Download <http://www.poynter.org/media/mediacast/pub/1048/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1048/podcast.xml>
12. Give key words their space.
Do not repeat a distinctive word unless you intend a specific effect.
PODCAST: Listen<https://http://www.poynter.org/meda/mediacast/pub/1049/podcast.asp?id=1049>|
Download <http://www.poynter.org/media/mediacast/pub/1049/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1049/podcast.xml>
13. Play with words, even in serious stories.
Choose words the average writer avoids but the average reader understands.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1052/podcast.asp?id=1052>|
Download <http://www.poynter.org/media/mediacast/pub/1052/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1052/podcast.xml>
14. Get the name of the dog.
Dig for the concrete and specific, details that appeal to the senses.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1053/podcast.asp?id=1053>|
Download <http://www.poynter.org/media/mediacast/pub/1053/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1053/podcast.xml>
15. Pay attention to names.
Interesting names attract the writer and the reader.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1054/podcast.asp?id=1054>|
Download <http://www.poynter.org/media/mediacast/pub/1054/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1054/podcast.xml>
16. Seek original images.
Reject clichιs and first-level creativity.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1056/podcast.asp?id=1056>|
Download <http://www.poynter.org/media/mediacast/pub/1056/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1056/podcast.xml>
17. Riff on the creative language of others.
Make word lists, free-associate, be surprised by language.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1058/podcast.asp?id=1058>|
Download <http://www.poynter.org/media/mediacast/pub/1058/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1058/podcast.xml>
18. Set the pace with sentence length.
Vary sentences to influence the reader's speed.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1059/podcast.asp?id=1059>|
Download <http://www.poynter.org/media/mediacast/pub/1059/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1059/podcast.xml>
19. Vary the lengths of paragraphs.
Go short or long -- or make a "turn"-- to match your intent.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1060/podcast.asp?id=1060>|
Download <http://www.poynter.org/media/mediacast/pub/1060/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1060/podcast.xml>
20. Choose the number of elements with a purpose in mind.
One, two, three, or four: Each sends a secret message to the reader.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1061/podcast.asp?id=1061>|
Download <http://www.poynter.org/media/mediacast/pub/1061/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1061/podcast.xml>
21. Know when to back off and when to show off.
When the topic is most serious, understate; when least serious, exaggerate.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1062/podcast.asp?id=1062>|
Download <http://www.poynter.org/media/mediacast/pub/1062/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1062/podcast.xml>
22. Climb up and down the ladder of abstraction.
Learn when to show, when to tell, and when to do both.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1063/podcast.asp?id=1063>|
Download <http://www.poynter.org/media/mediacast/pub/1063/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1063/podcast.xml>
23. Tune your voice.
Read drafts aloud.
PODCAST: Listen<http://www.poynter.org/media/mediacast/pub/1064/podcast.asp?id=1064>|
Download <http://www.poynter.org/media/mediacast/pub/1064/podcast.mp3> | Drag
to iTunes <http://www.poynter.org/media/mediacast/pub/1064/podcast.xml>
III. Blueprints
24. Work from a plan.
Index the big parts of your work.
25. Learn the difference between reports and stories.
Use one to render information, the other to render experience.
26. Use dialogue as a form of action.
Dialogue advances narrative; quotes delay it.
27. Reveal traits of character.
Show character-istics through scenes, details, and dialogue.
28. Put odd and interesting things next to each other.
Help the reader learn from contrast.
29. Foreshadow dramatic events or powerful conclusions.
Plant important clues early.
30. To generate suspense, use internal cliffhangers.
To propel readers, make them wait.
31. Build your work around a key question.
Good stories need an engine, a question the action answers for the reader.
32. Place gold coins along the path.
Reward the reader with high points, especially in the middle.
33. Repeat, repeat, repeat.
Purposeful repetition links the parts.
34. Write from different cinematic angles.
Turn your notebook into a "camera."
35. Report and write for scenes.
Then align them in a meaningful sequence.
36. Mix narrative modes.
Combine story forms using the "broken line."
37. In short pieces of writing, don't waste a syllable.
Shape shorter works with wit and polish.
38. Prefer archetypes to stereotypes.
Use subtle symbols, not crashing cymbals.
39. Write toward an ending.
Help readers close the circle of meaning.
IV. Useful Habits
40. Draft a mission statement for your work.
To sharpen your learning, write about your writing.
41. Turn procrastination into rehearsal.
Plan and write it first in your head.
42. Do your homework well in advance.
Prepare for the expected -- and unexpected.
43. Read for both form and content.
Examine the machinery beneath the text.
44. Save string.
For big projects, save scraps others would toss.
45. Break long projects into parts.
Then assemble the pieces into something whole.
46. Take interest in all crafts that support your work.
To do your best, help others do their best.
47. Recruit your own support group.
Create a corps of helpers for feedback.
48. Limit self-criticism in early drafts.
Turn it loose during revision.
49. Learn from your critics.
Tolerate even unreasonable criticism.
50. Own the tools of your craft.
Build a writing workbench to store your tools.
To purchase a copy of "Writing Tools: 50 Essential Strategies for Every
Writer," visit your local or online bookstore or click
here<http://www.amazon.com/gp/redirect.html?link_code=ur2&tag=poynterorg-20&camp=1789&creative=9325&location=http://www.amazon.com/gp/product/0316014982/ref=pd_rvi_gw_1?_encoding=UTF8&v=glance&n=283155>(as
an Amazon affiliate, Poynter will receive a small cut of the profit).
You can contact the author at:
[log in to unmask]<[log in to unmask]>
.
Posted at 1:13:11 PM
*E-mail this item<http://www.poynter.org/content/email_friend.asp?id=103943>|
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*
MONDAY, APRIL 23, 2007
Need some writing adrenaline? Dial 007.
When my writing needs an adrenaline shot, I pick up an old Ian
Fleming<http://www.imdb.com/name/nm0001220/>novel and read an original
adventure of British secret agent James Bond --
007. (My definition of a bad copy editor, by the way, would be the one who
would have called Bond '7,' no need for those redundant double 0's.)
I first read Fleming in the early 1960s, when the movies began their epic
run. The books -- if you can ignore some dated ethnic stereotypes -- has a
quality that appeals to me. The prose is both literary and lurid, appealing
to multiple sensibilities at the same time, the way that Shakespeare could
play to poetry-loving aristocrats or to the groundlings for the bawdy humor
or bloody swordplay.
On my brother's recommendation, I picked up my old copy of "Casino Royale"
and read it to compare and contrast it to the story line in the recent Bond
movie. Although set in a different time period, the movie follows the script
of the book with surprising fidelity.
I also enjoy reading Fleming because his writing strategies are close to the
surface of the text, thus easy to decipher. Here are three paragraphs in
which Bond muses about his relationship to the beautiful and mysterious
Vesper Lynd:
He found he could speak to her easily, and he was surprised.
With most women his manner was a mixture of taciturnity and passion. The
lengthy approaches to a seduction bored him almost as much as the subsequent
mess of disentanglement. He found something grisly in the inevitability of
the pattern of each affair. The conventional parabola -- sentiment, the
touch of the hand, the kiss, the passionate kiss, the feel of the body, the
climax in the bed, then more bed, then less bed, then the boredom, the
tears, and the final bitterness -- was to him shameful and hypocritical.
Even more he shunned the mise-en-scene for each of these acts in the play --
the meeting at a party, the restaurant, the taxi, his flat, her flat, then
the week-end by the sea, then the flats again, then the furtive alibis and
the final angry farewell on some doorstep in the rain.
But with Vesper there could be none of this.
Here's what I notice:
- The interesting pace that comes from a long paragraph, framed by two
short ones.
- The great movement in that long paragraph from the abstract to the
concrete, from the general to the specific. Just when we think we're stuck
in the ozone of "taciturnity" or "inevitability," the prose dives back
toward earth with mundane phrases like "then less bed" or "his flat, her
flat."
- A vocabulary that varies from sophisticated and technical words such
as "parabola" or "mis-en-scene" to Anglo-Saxon monosyllables such as "kiss,"
"bed," and "rain."
- The acceleration of time in that long paragraph that comes from long
sentences that fly across the narrative details of a standard romantic
relationship between spy and lover.
What else do you see here that appeals to you?
Posted at 4:20:24 PM
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*
WEDNESDAY, APRIL 18, 2007
How does a detail make meaning?
I've been thinking of this question after a chance encounter at a Subway
restaurant. I stood behind a young woman in line, studied her, and raced
back to Poynter with a tuna sandwich and scribbled this down:
She wore black, the telltale uniform of a local fashion institute, and her
hair was copper -- a strong vote for art over nature. Her arms were thin and
pale, and I could see a crude tattoo on the inside of her left forearm -- a
red heart with this script inside: "Too sad to give a fuck."
She didn't look sad.
She ordered a meatball sub and asked the kid behind the counter to slather
it with mayo, a combination I associate with a hearty appetite and an
indifferent imagination. Mayo on your meatballs means you're probably not
sad, but that, in truth, when it comes to your stomach, you don't give a
flying flip.
That's not a story. It's just scratching. A writing exercise. A little
practice. A way to remember.
But it has led me back to this question: How does a detail make meaning?
What does the detail of the tattoo mean, and what is my responsibility as a
writer to help the reader find the meaning?
I invite you to help me answer these questions:
- In what kind of a story would the detail of the tattoo have meaning?
- What kinds of reporting would you need to satisfy yourself that it
has meaning?
- Could you describe her tattoo without using the f-word?
- What questions would you ask her?
If her tattoo was in plain sight (as it was), would you feel free using it
in your story without asking her about it, the way you might not ask about
her clothing or hair color? Or is the detail too "prejudicial," as they
might argue in a courtroom.
Please help me figure this out.
Posted at 5:34:45 PM
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*
Copyright (c) 1995-2007 The Poynter Institute
------------------------------
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Peter Parisi, Ph.D.
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Hunter College
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