good interviews

20 • CommuniCation: Journalism EduCation today Fall 2003

Cultivating SourCeSkey to SuCCeSSfulStorieS

Fall 2003 CommuniCation: Journalism EduCation today • 21

Good stories come from good interviewS. And hAvinG

A Good interview meAns doinG some prepArAtion

And estAblishinG A rApport with the interviewee.

all experienced reporters know that stories

full of lively and informative direct quotations

will peak a reader’s interest. to put it simply,

the readers would rather hear from informed

sources than from journalists. but getting a

good interview is not easy. it means doing a

lot of background research on both the source

and the issue at hand. it means thinking

through questions and possible answers. And

it means establishing a personal rapport with

the subject of the interview.


Liz Sidoti, editor of The Post at Ohio University, sat confi-dently and comfortably in the student center restaurant, near the newspaper office, an ideal place for a relaxed interview for her sources, she said. Though the setting was appropriate, Sidoti admitted that student journalists face a momentous challenge in gaining the respect needed from sources to glean a high quality of information. A general lack of respect for journalists is compounded by a lack of respect for students.

“It’s a double whammy,” she said. “I’m a student, and I’m a journalist. We get a bad rap.”

While many, indeed most, student reporters are clearly conscientious and thorough, the “bad rap” student journal-ists get may be attributed, in part, to a lack of “homework,” according to educators.

“The biggest problems don’t come from sources,” said Dave Golowenski, adviser of The Lantern at Ohio State University. “They come from reporters who go into inter-views not as prepared as they

need to be.”The biggest difference

between lessons taught in the classroom and lessons learned in the newsrooms of student papers involves learning how to deal with the human inter-action of working with and developing sources.

Students soon learn that the challenge of working with sources is greater than they imagined. They often perceive that the quality of information they are able to obtain as stu-dent journalists is far less than their counterparts at the local paper.

Bob Bortel, adviser of the BG News at Bowling Green State University said, “You’ve got to know what you’re talk-ing about. You have to do the background work to get respect as a reporter.”

In addition to researching the specifics of articles before interviews, part of that prepa-ration, say both students and educators, needs to be class-room instruction on source cultivation and interpersonal skills. Sidoti recommends add-

ing a specific course to journal-ism curricula on interviewing and source relations. It would come as a surprise to many educators that Sidoti believes too much time is wasted on writing in journalism classes.

“They teach us the mechan-ics — they’re not teaching us interaction,” she said. “The last thing I would do as a teacher is have students writing stories. I would focus on how you go about getting the information to write the story.”

Perhaps the parochialism of the academic environment, where reporting and interper-sonal communication are usu-ally taught by different depart-ments, contributes to a chasm between journalistic skills and communication skills.

“Interpersonal skills should be incorporated into the jour-nalism curriculum,” Bortel said. “News writing and information gathering from a news writing standpoint are brothers to com-munications — but they’re not the same. Interpersonal skills have to be part of the journal-ism curriculum.”By

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iSon

the sources are the storyestablishing personal rapport

with sources is key to reporter’s success

photo by mAtt slocum


The theme of interpersonal skills surfaced repeatedly dur-ing interviews with both educa-tors and students.

“I’ve found that journalism courses don’t prepare students for handling sources in an interpersonal way,” said Mike Wending, chief reporter of the BG News. “And courses don’t really prepare us for source selection — choosing which people to go to, choosing this source over that source and how sources differ in different situations.”

Wendling said subjects as simple as “when to put the pen away” to help alleviate the apprehensions of sources are lessons that need more atten-tion in the classroom.

Student reporters, in fact, spend a considerable amount of time and effort attempting

to ameliorate the concerns of sources who do not want to talk. Most of their efforts involve attempting to estab-lish some level of trust. Trust, though, is a two-way street that begins with reporters being honest with their sources.

Shawn Foucher, editor of The Lakelander of Lakeland Community College, favors telling sources exactly what the purpose of the article is.

“Most people just say they don’t trust the media because (journalists) will take your words and information and twist them,” Foucher said. “So it usually helps when you explain what you’re writing about.”

Jim Szatkowski, adviser of The Cauldron at Cleveland State University, believes that academic environments pres-

ent more difficult challenges for reporters in getting sources to talk.

“People in academia often think that not saying anything is the better practice,” he said. “Let the internal politics handle things, and don’t air things out in public.”

Szatkowski suggests train-ing reporters to tell sources the general situation. He illustrated a typical approach: “Look, everyone’s talking about this. They’re talking about this in the cafeteria. They’re talk-ing about this in the library. They’re talking about this all over so let’s get it in the open and on the record.”

Journalists realize that rela-tions with sources are becom-ing more complicated with modern technology — or

“Most people just say they don’t trust the media because (journalists) will take your words and information and twist them.” shawn foucher

“you have to get people to read the newspaper. you have to make it interesting. find a style you’re comfort-

able with and go with it. I’ve found that (reading) enormously helpful. I like reading magazines, fiction, po-

etry, song lyrics … anything that gets you thinking about how to use the language in new and creative ways.

remember your audience. All good writing comes from good reporting. I don’t think you can ever over report.

The hardest part for me is deciding what to put in and what to take out. it’s not about how smart you are or

how cool you are. it’s about how you can make others interested in it.” raCHel Blount is a sports writer with

the Minneapolis Star Tribune at [email protected].

photos of rachel blount by bradley wilson

continued on page 24


less complicated — depending on the point of view. Many student journal-ists and educators are concerned about the effects that using e-mail to contact sources has on building strong source relations.

The Post at Ohio University was so concerned that it implemented a policy limiting the use of e-mail by staff mem-bers in conducting interviews.

If it were up to her, Sidoti added, she “would rip all the phones out of the newsroom.” She is concerned that a lack of personal contact with sources hinders a reporter’s ability to use the interview process as a means of gaining a higher quality of information.

“E-mail,” she said, “is not real. You can’t bounce questions off them. You can’t tell about their body language. You can’t tell body language with the phone either, but with e-mail you don’t even have the tone of voice.”

Ohio University journalism professor Don Lamber said he is concerned that we are entering an age of the “faceless journalist” and that much is lost by journalists who do not walk their beats. In part, what is lost is contact with informal sources.

“You’re going to miss some things. When you go to city hall, yes, you should talk to the mayor and depart-ment heads, but sometimes it’s going to be the janitor or secretary who is going to be most helpful,” he said.

Instructors, however, agree that using e-mail to make initial contact with sources and to arrange appointments for interviews is a tremendous advantage for student reporters, who are especially stretched for time. But the decision is split about interviewing electronically and the quality of information received via e-mail.

“It’s like letting a source write a press release,” said Chris Tribbey, news edi-

tor of The Lantern at Ohio State. “They can come up with great, well-written, dance-around-the-subject responses.”

Golowenski said he believes that the spontaneity of the interview process is lost in cyberspace.

“In a face-to-face interview, if you’re really a good conversationalist, people end us saying things they never intend-ed to say — and I don’t see that happen-ing over e-mail,” he said.

Others believe that e-mail ensures quotations are verbatim and helps reporters keep accurate records of interviews. As a result, the process can increase the quality of information.

Educators and students agree that the experience of working at a student newspaper or as an intern at a com-mercial paper is the best teacher when it comes to truly learning the value of reporting.

“In the classroom, students don’t have the appreciation of what it means to screw up,” Lantern editor Tim Paradis said. “They don’t get that knot in their stomachs that we get at the paper when there’s a mistake.”

While experiences such as stomach knots may be forever relegated to whose who actually do the work of reporting, students are telling educators that there is much more that can be done in the classroom. In particular, student report-ers must learn to discover firsthand the value of effective source development, successful source relations and inter-personal communication skills when dealing with sources.

When it comes to dealing with sourc-es, students believe educators can do more to help bridge the gap in knowl-edge between the classroom and the newsroom. They, as do astute profes-sors, recognize that the challenge of building that bridge must go beyond book/lecture learning. n

“the biggest problems don’t come from sources. they come from reporters who go into interviews not as prepared as they need to be.” dave Golowenski

top 10 Commonsense interviewing tipsby KAthy crAGheAd

1. Always begin by introducing yourself. never assume an instructor or member of the community remembers your name.

2. Always follow this question by confirming the spelling of the interviewee’s name, his/her position and job title. the source will likely applaud your effort to make the story more accurate.

3. Always have questions prepared so the interview has a framework, but never stick so closely to the list that you cannot fol-low the story if it takes a sharp turn. in your quest, be flexible enough to chase the good story.

4. never use a tape recorder without permis-sion. Asking is a courtesy. take notes also; be prepared for technical failure.

5. Always maintain as much eye contact as possible. even while taking notes, give positive feedback when appropriate.

6. make note of body language, pauses, facial expressions and gestures. these may become critical in writing the narrative.

7. Always confirm statistics, figures, money amounts, dates and times. feel free to ask the interviewee to slow down, repeat or explain what you do not understand.

8. never hesitate to “read back” a state-ment. if you recognize the statement as a potential direct quote, you want it to be complete and correct.

9. never burn any bridges. you never know when you will have to go back for more information for this story or for another story.

10. Always say thanks. even if the interview was more frustrating than helpful, the person did give you time.

continued from page 23


a tale of two interviewstwo aspiring journalists struggle to master the art of interviewing

in this day and age of instant messaging and “personal” contact by e-mail, the

art of the interview is getting lost. but by following basic interviewing guidelines,

reporters can breathe more life into their stories and learn a lot more about their

sources in the process. • By david knight with photos of Jonathan Crawford and

John Quick by Shaun Patrick


You are on the scene in a journalism class filled with visionary editors and alert reporters, at least per their claims. Being the ever-diligent journalist, you return with biographical sketches of journal-ists who have been assigned stories that need immediate attention.

roCk n rePorter1:30 p.m. Rock immediately suspects that he has been assigned the hottest feature story of the year: new speed bumps that tear up cars.

1:31 p.m. Before leaping into action, Rock sits down with his editor to dis-cuss the best angle for the story.

1:45 p.m. Rock hits the library to check local, state and national news pub-lications for articles about speed bumps.

3 p.m. No luck in the major news magazines or Web sites, but Rock does find a good story in last year’s student newspaper. Also, in the local paper he finds a great description about parents complaining to the board of trustees.

3:10 p.m. In the parking lot, Rock watches for students upset by the speed bumps. He also counts the speed bumps and the cars that scrape as they maneuver toward the exit. In addition, he measures a speed bump’s height.

DAY 2

1:30 p.m. By the time Rock returns to the newsroom, he has identified three parents, four students, a teacher, an administrator and a police officer he wants to interview.

1:35 p.m. Rock works with the designer and the photographer assigned to the story to write at least 25 questions for each source, then hands them to the editor to critique.

3 p.m. Rock finds the contact information for each of his potential sources. To complete this goal, he had to check student schedules, teacher schedules, phone books and a student directory.

DAY 3

1:30 p.m. The editor returns the questions with helpful comments. Using these ideas, Rock, the designer and photographer revise the questions and put them in order — easiest to hardest.

3 p.m. Rock, the designer and the photographer meet their first interviewee, Otto B. Carr, in the parking lot beside Otto’s car.

Rock: “Hi, I’m Rock N. Reporter. This is Dee Page, our designer, and Flash Cannon, our photographer.”

a planned relationshipdoing homework, researching multiple

angles adds life, depth to story

oBeginnever begin a story until you’re sure you understand the angle your editor wants.

get involvedKnowing what you know about speed bumps, write down five questions that come to mind.

oPreParationAbsolutely a must: read something that has already been written about your topic. background info gives you ideas for angles, ques-tions and sources. plus, a source appreciates a reporter who knows the basics about the topic as well as accomplishments of the source.

otHe MagiC nuMBer: 25writer’s block does not exist for reporters because they can begin developing questions as soon as they know the assignment. write at least 25 questions for each source. of course, some questions you use with one source you might — and probably should — use with other sources.

otHe rigHt PlaCeinterview your source in the individual’s environment, but make sure the environment fits the story. the active arcade is not the right place for a parking lot subject.


Otto: “Nice to meet y’all. How do you wanna do this?”

Rock: “Just like we talked about last night. We’d like to ride out of the park-ing lot with you, just to get a feel for how the speed bumps affect your car. Then we’ll meet you at your father’s auto shop for the interview. Is that okay?” Flash begins snapping shots.

Otto: “Sounds good. I’m taking my girlfriend Rhonda home, but that’ll just take a minute.” They pile into Otto’s car. As they cross speed bumps, Rock and Dee make notes on how Otto, Rhonda and the car react to the bumps.

3:30 p.m. “Do you mind if I tape record? It helps me make sure I get my facts straight.” Rock gets out his recorder.

Otto: “Sounds like a good idea to me.”

Rock: “Before we begin, I just want to let you know that if you want to go off the record, you must tell me first.”

Otto: “No problem”

Rock: “Great, so, Otto, you’ve been driving to school for three years, right?”

Otto: “Yep. I got my first car after I turned 16.”

Rock: “Your car is a 1968 Chevelle Super Sport, which you restored yourself. Is that correct?”

Otto: “Correct.” Rock asks 10 break-the-ice questions, which are all closed-ended questions. Some of them Rock already knows the answer too, but it helps get Otto comfortable with the situation.

Otto: “Hey, you’ve really done your homework on me.”

Rock: “Thanks. We just wanted to make sure we had all our facts straight. Now .…”

Rock and Dee begin asking the 33 questions they’ve prepared. They take down Otto’s great quotes word for word and focus on why Otto thinks things are the way they are.

As they ask each question, they give Otto time to respond, never jumping in just because he pauses before answering.

As Otto answers, they take notes, nod and say, “Uh huh” or “I under-stand.”

In the margins of their notes, they record what Otto does as he talks — points to a bent place on his muffler, closes one eye and stares at the ceiling as he adds up how much he spent on repairs, polishes a spot on the front fender as he talks about the hours spent restoring the Chevy.

Flash captures Otto’s expressions on film. He works hard not to interrupt the interview’s flow. He also takes notes, making sure to note the frame he’s shooting and what Otto was asked during the frame so he will have what he needs to write captions.

Rock and Dee work together well, following up each question with questions designed to get the little details they will need to make their story come alive. For example, after they ask Otto to describe the first time a speed bump damaged his car, they follow up with, “What did you say to Rhonda when you heard the oil pan scraping? What did it sound like? What exactly did you do? How did your father react when you told him what had happened?”

One hour later Rock, Dee and Flash have asked all their questions, and they take a minute to flip through their notes so they can make sure they did not leave out any questions.

get involvedwhat kind of photos would you expect your photographer to get?

uH HuH“i understand.” Sometimes you say those

words. other times you may nod and say, “uh huh.” always the goal and the reality is to give the source confidence that you are listening intently and that you are absorbing the meaning of the individual’s words.

research on interviewing shows that report-ers who continue to say “uh huh” and nod their heads as their sources answer questions have more success getting sources to talk significantly than reporters who make no effort to show they are understanding.

oflaSHflash will have great images because he’s already getting otto used to his being there.

ointeraCtive teaMGreat reporters are great observ-ers and great recorders, both with words and with photographs. make sure you look for every little detail that will put your reader in the interview with you. strong visual images clearly contribute to the success of any story package.

oCareful noteStake thorough notes. it is essential both for accuracy and for building confidence with the source. And nothing is better for keeping a source talking. tape recorders can be helpful, but never trust them. they will let you down. And they do not give your sources the power trip that seeing you scribble like crazy does.

oPerSonal BaCkgroundyour sources will be awed when they discern that you have taken time to do research about them. they will have confidence that you will get facts right. Also, they will respect you more because you ap-pear to know something about the subject. bottom line — it makes them more likely to talk candidly with you.


Rock: “That’s all our questions. Would you like to add anything?”

Otto: “As a matter of fact, I would. I’ve checked into what most paving guys say about how high speed bumps should be, and the school speed bumps are at least six inches higher than normal.”

Rock: “Wow!” Rock and Dee follow up. They find out the names of paving contractors who can give them more details.

Rock: “Thanks Otto. You’ve been a great source of information. Would you mind if we call you back if we have other questions?”

Otto: “No man. Call me anytime.”

Ten minutes later Rock is at home. He checks through his notes to correct words that are not clearly written and adds new questions to ask in his other interviews.

DAY 4

The next day Rock arrives with a rough draft of the story that he turns over to the designer and the copy editor. Rock spends some time with the pho-tographer to help edit images. By the end of the day, he is revising his story while the photographer is prepping the photos for reproduction and the designer is adding finishing touches to the page.

When the story comes out in the paper, they look back on their package, an investigative piece that caused five students and faculty/staff to write letters to the editor citing problems they had also had with the speed bumps. It was a thoughtfully-crafted, well-written package. But most importantly, it caused the maintenance to lower the speed bumps. Rock, Dee and Flash had made a positive difference on their campus. n

four tyPeS of QueStionS to avoid aSkingCloSed QueStionS: yes or no questions, or questions with short, one-word responses, only give you weak quotes that force you to use awkward transitions – even if you follow up with “why?” check your questions, and rewrite them to elimi-nate closed questions, especially yes/no questions. A question is a yes/no question if it begins with do, does, did, have, has, had, can, could, should, will, would, was, were, might or must.

leading QueStionS: the person you’re interviewing, even if he is an experienced source, is afraid you are going to make him look dumb. he’s listening intently for hints on the direction you want the interview to take. if you ask questions that lead him, you may end up keeping him from giving you an honest answer.

tHink/feel QueStionS: don’t ask, “how did it feel when you saw the car run over your dog?” or “what did you think when you found out you were growing a tail?” what are they going to say? “it felt bad.” “i worried about sitting down.”? Ask what the first thing they did was or the first thing they said. Ask questions that will get specific, detailed descriptions about how they reacted.

general QueStionS: Great reporters know that general questions merit general answers. Avoid broad, general questions that will elicit broad, general answers such as, “how did the team play in the last game?” be specific. “which play was the turning point in the game?”

ogolden SilenCe Give sources time to think before they answer, and do not let their silence intimidate you into answer-ing the question for them. Ask your question. then be quiet until they answer or they ask you to explain it. Also, avoid the trap of letting anyone go off the record. perhaps the only exception is when an administrator shares complica-tions that influence a situation.

otHougHtful PurSuitfollow-up questions help you put flesh on the answers to your original questions. pursue ques-tions to the max by discovering little details of the story. listen carefully, and ask questions that will allow the individual to expand answers. before you leave, you will also want to check your prepared list so that you have asked all you need to ask.

otHe ultiMatethe ultimate compliment — some-thing you produced helps change your school for the better. readers may think, laugh or cry because they know more as a result of your reporting.


Across town, you again witness another journal-ism class that is also filled with visionary editors and alert reporters, at least per their claims. Being the ever-diligent journalist, you also return with details of this reporter in action.

SaMi a. SlaCQuer8:30 a.m. Sami is assigned the hottest feature story of the year: new speed bumps that tear up cars in the parking lot.

8:31 a.m. Sami plops down in his seat and searches last year’s yearbook for a prom date. So what if it is September. He needs all the time he can get.

10 a.m. Sami finally finds a photo of a freshman girl he hasn’t hit on, but no one will help him pronounce her name.

3 p.m. Sami goes home and sits down to think of questions while watching “Real World.” No luck.

6 p.m. Two hours of the “Brady Bunch” and one hour of MTV later, Sami still does not have a question. “What the heck. Why do today what you can put off until tomorrow?”

FOur DAYs lAter, the DAY beFOre the pAper cOmes Out

7:50 a.m. “Oh man!” Sami thinks. “My story is due today. He frantically scrawls a note to his best friend Scuz and stuffs it in Scuz’s gym locker. “Dear Scuz,” the note says. “I need a quote about speed bumps. Help me out, man.”

8:30 a.m. Sami’s editor comes by his desk. “How’s the story coming Sami? Dee’s been looking for you. She wants to start designing that feature pack-age. She has a big test tomorrow and doesn’t want to be up all night.”

Sami: “It’s coming great. It’ll be in right after lunch. And it’s going to be great.”

3:05 p.m. Sami finds the note stuffed back in his locker before his afternoon workout. “I don’t do speed — have no idea. Got to go to work. Catch ya later.” Sami thinks, “Great.” Then he heads to the arcade in the mall to plan his strategy.”

6 p.m. Sami sees three students playing Mortal Combat. They look like good sources. Hey, faced with a 7 p.m. deadline, anyone will do.

Sami: “Hey dude, can I ask you some ques-tions?”

Dude 1: “What you a physics test?”

Dude 2 & 3: Giggling. Snarfing. “Dat’s a good one, man.”

Sami: “No, dude, like I got to do this story for the newspaper. It won’t take but a minute. Just give me a quote about the new speed bumps.”

Dude 1: “Give a what?”

Dude 2: “Dude, you dumb? Like speed. He’s doing a story on teens and drugs.”

Dude 3: “No way man, you dumb? He’s reviewing that sequel to the first Speed movie.”

Dude 1: “You guys are losers. Anyway, I know nothin’ about nothin’.”

Dude 3: “You can say that again.”

Sami: “Just chill out guys. It’s not about drugs or movies. It’s about the new speed bumps in the parking lot, the things cars run over. Do you think they’re good?”

top 6 reasons students give for Bad interviewSpeople wouldn’t say anything.i couldn’t find my questions.i asked her to give me a quote, but she wouldn’t.she talked too fast.i had a stupid topic.i couldn’t think of any questions.

oBad oMensami is wasting valuable time. he should know by now he’ll never get a date to prom.

otHe rigHt PeoPlebefore you begin, research to find sources who have a connection to your story. talk to editors, to expe-rienced reporters and to appropri-ate specialists. finding people in the know increases your chances of writing an effective story.

onot friendSin addition, never interview friends. they will tempt you to make up quotations for them, and your readers think they have to know someone on the publication to get interviewed.

otHe Private MoMentit is essential that your source be alone with you or with the inter-viewing team. make it possible for the source to respond honestly or thoughtfully by avoiding the pres-ence of friends or other teachers. often other people distract both you and the source.


Dude 1: “Oh, yeah, I’ve seen those. Good? Yeah. They’re nice for skateboard-ing. How’s that for a quote?”

Dude 2: Slouching against the wall with his arms across his chest. “Sounds stupid to me.”

Dude 1: “Who you calling stupid?”

Sami: “Whoa, now, chill out. Just let me ask you a couple more questions. Are they causing problems.”

Dude 1: “Uh, yeah.”

Dude 3: “How are they causing you problems? You ain’t got no car. They hurt your feet when you walk across ‘em?”

Dude 1: (edging toward Dude 3) “Hey, man, what you know? You go around them on your bike, I guess.”

Dude 2: “I agree.” Dudes 1 and 3 glare at him.

Sami: “Okay, okay, cool down. Just a couple more questions. Have you talked to anybody who has a car that is ticked off about them?”

Dude 1: “Uh, yeah.”

Dude 3: (muttering under his breath) “That’s a like, ain’t nobody with a car talkin’ to him.”

Dude 1: (going after Dude 3) “What’d you say, man?”

And the scuffle begins. Sami runs.

Five minutes later Sami stops at the door of Victoria’s Secrets and sees the dean of students, Mr. Bigum Knurd, sneaking out. “Hey, Mr. Knurd, can I ask you some questions?”

Mr. Knurd: “Uh, look, forget you saw me, and you receive a get-out-of-jail free pass.”

Sami: “What? Okay, but I still need to ask you some questions. I’m doing a story on the new speed bumps.”

Mr. Knurd: “Look, you know speed kills. You have so much to look forward to. Don’t throw it all away with some stupid mistake. Stay off speed.”

Sami: “No man. Speed bumps. Like in the parking lot. Cars drive over them. Scrape. Why’d they put those in? They tear up cars.”

tHe HardeSt Part of interviewingthe hardest part of interviewing – thinking of questions. no doubt about it, it’s the reason most journalists delay interviewing. they cannot think of what to ask. the five tips below can help your staff move past “question block.”

tiP 1: work in teams on stories and on questions. when people talk about stories, they come up with good questions.

tiP 2: read stories that have already been written about your topic, and figure out what the reporter had to ask to get the information he received.

tiP 3: put up posters in the newsroom that give ideas for questions to ask. Always ask the person you are interviewing about change from previous years; about comparisons with other schools, states, places; about effects on or reactions by one sex versus the other; about conflicts faced; about stereotypes; for advice or suggestions; for stories to illustrate points the individual makes. then, after each question, ask why, when, what, who, where and how.

tiP 4: Ask yourself or your team what the reader will want to know about the person or idea that is the focus of your story.

tiP 5: maintain reporting standards. Avoid allowing sources to give written answers to a list of questions. Quotes must sound like a person talking. And never “ski for a quote” by telling a classmate, “Gimme a quote.”

tiP 6: Keep a file of questions and interview notes so they are readily accessible to others on staff, especially copy editors who may need to fact-check direct quotations.

oProfeSSional PurPoSeintroduce yourself as a reporter who is writing an article. use the generic word “article” as informa-tion sometimes changes how the publication presents the story. And always avoid “editorial” because that sends a danger signal to sources. instead, let the reporting dictate how the publication pres-ents the information. Avoid slang unless you want to sound dumb, dumb, dumb.

oClear QueStionSmake sure you prepare questions that are clearly worded. you lose the confidence of your source when you make the person feel dumb be-cause he or she misunderstood you and talked about the wrong subject for 20 minutes. Also avoid degrad-ing your source or your subject by using stupid expressions, such as a “ticked-off car.”

ologiCal orderbegin with “fact” questions — they are the easiest to answer. Ask your tough ones when the source is more comfortable with you. save “opinion” questions for last. they are the hardest for people to answer. And do not word your questions so that they threaten your source or make the person feel inferior.


roCkBelow are the first four paragraphs of one story by Rock in a package, which also included photos, charts and quote collections.

by rock N. reporter Otto Carr stands in his father’s shop and stares up at the muffler on his ‘68 Chevelle Super Sport, now 6 feet in the air on a hydraulic lift. He carefully runs his finger down a 6-inch gash in the muffler and talks about why he things some-thing has to be done about the new speed bumps in the school parking lot. “My father gave me this car. It was his when he was in high school. And I spent nearly every penny I made after school restoring it,” Otto said. “Now, everyday, something else is damaged by those over-sized speed bumps.”

…

SaMiBelow is the story Sami turned in. It did not appear in print. In fact, the editor reassigned the story to another reporter and worked closely with that individual to achieve a different result, a story worthy of printing.

by sami A. slacquer Many teenagers and students drive cars to school. They face many hazards, including accidents and animals out in the road in front of them. But none of them expect to face a hazard in the safety of their own school parking lot — speed bumps. Many students agree that the speed bumps cause problems. Even students who do not have cars are bothered by the destruction the speed bumps are causing to students’ cars. School administrators and faculty members are reluctant to talk about the speed bumps.

The quality of reporting always determines the outcome of a story. Whether an editor or a reader, it is easy to rec-ognize the benefits of discipline, diligence and determination to find the story. And a peek at the stories Rock and Sami turned in clearly illustrates how reporting affects the writing. The contrast is striking: reporting that leads to a story worth reading vs. flippancy that results in empty words. Facts and details require leg work for everyone on the reporting team.

Mr. Knurd: “Young man, you will not talk to me in that manner. You’re just like every other journalist, always looking for the negative, trying to stir up controversy. I won’t have it around here. Remember, the newspaper is under my jurisdiction. Now get out of my way, and see me in my office tomorrow. Stupid, indeed. I’ll be talking to your adviser.”

Sami turns away in disgust and sees his last hope. It’s now 6:45 p.m. “Uh, Mrs. Kloo, can I ask you some questions?”

Mrs. Kloo, a parent, turns away from the Elvis throw rugs in the middle of the mall to see who’s speaking to her. “Uh, yes, certainly.” Sami sees a weary look in her eyes.

Sami: “Do you think the school needs those new speed bumps?”

Mrs. Kloo: “Well, of course.”

Sami “You do? Why?”

Mrs. Kloo: “To keep students from running in the halls of course. Young man, how are you going to quote me? You’re not writing anything down.”

Sami shrugs and walks off. “I think I got enough,” he thinks to himself. “I didn’t want to do this story anyway. It’s boring.”

At 10 p.m. that night. Dee is pacing back and forth. Flash, the photogra-pher, went home three hours ago. Sami sits down to write. He finally turns in a five-paragraph story with no direct quotes but lots of editorializing.

the Next mOrNiNg

8 a.m. Sami flips through the paper. But he does not find his story. When he runs into the editor between classes, the editor asks Sami, “What hap-pened?”

Sami replies, “Nobody wouldn’t say nothing.” n

ofinal QueStionthe last question you always ask: may i call you or see you again if i have additional questions when writing the story? that way, when your editor tells you that you need more information, you already have permission from your sources to call back.

oProteCtive StePAs soon as possible after you finish the interview, review and correct your notes. spell out words, and decipher unclear scribbles. that way, when you write the story, you will not find statements you can-not decipher.

otHe rigHt tiMewhen possible, schedule interviews in advance, but always write your questions before you contact your source for an appointment. oc-casionally, an individual wants to talk to you immediately. however, do not interview sources when they are busy or involved with something else. catching a source on the run usually yields terrible quotes.

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