1. Associated Press Reporting Handbook Profiles Chapter 6

2. An Elderly Woman and the Confounding Gift of Sight A Story by Helen O’Neill  Relationship is the name of the game. Listening is the most important thing you can do.  Most people just want someone to “listen.”  Reporting begins and ends with listening.  Writing is a constant process of listening.  Listening to Eva Suggs was not easy.

3.  How did Eva’s desire for a “purple” world grab you?  Although there are only about a dozen quotes from Eva, do you feel O’Neill captured enough of her personality in this story?  Can you sense the anguish Eva feels now that the world expects more from her? She can see now, but she had been blind from birth. Wearing Purple

4.  Coming late in life, Eva’s gift from God (eyesight) seems to have an ironic side. How does O’Neill handle this?  From Eva’s situation do you feel mostly despair or hope?  Did the “God” conversation between Eva and her friend remind you of anything?  What does “Beauty’s” presence tell us?

5. Getting the Story  Is it Eva Suggs’ unique situation, or universal situation, that makes her a story?  Does her story tell us anything about the Garden of Eden?  During the first phone call, O’Neill was discouraged. “There’s all this stuff in there...” What does she mean?  What was O’Neill’s “challenge”?

6.  What was O’Neill’s approach to learning what it’s like to be blind?  What is the difference between writing with sympathy and with empathy?  Why was it not necessary to quote “Brunson” in the story?  How is she part of the story, anyway?  Where does Tony Talbot fit in?

7.  O’Neill spent a great deal of time with Eva, but she also spent time with her granddaughter Michelle. What’s up with that?  What is the word O’Neill uses in place of interview?  What about her list of questions?  While establishing trust, what is one thing she suggests?

8.  And, what about note taking?  When does the writing get done?  She shows a great deal of concern for her subjects -- how they’re depicted.  What “evident” good did O’Neill’s work accomplish for Eva Suggs’ family?  What do you think is meant by “archeological” effort put forth by O’Neill?

9. Associated Press Reporting Handbook The Art of the Sit-Down Interview Chapter 7

10. Jane Fonda Talks, and Talks Some More By HILLEL ITALIE  How does the lead of the story fit the image of Jane Fonda’s lifestyle that emerges in the story?  Is the description of Fonda “adequate”?  By the time I turned the first page, I was already exhausted from all the workouts.  What does Jane feel exercise helps her do?

11.  How did Fonda feel about getting into character for a film?  So, where’s her heart today?  What are some of the aspects of Fonda’s personality that come out in how the story is written?  What inspired her to continue doing workout tapes?

12.  Why do men, according to Fonda, avoid workout tapes?  What type of feminist view do you get of Fonda?  How does the writing help give you that view?  Does Ted do videos?

13. The Interview  Hillel Italie did not have days to shadow Fonda for an in-depth story. He had just an hour.  How did this affect his story?  These “quick” interviews can produce shallow writing.  What does Italie do to make his more in-depth?

14.  “I’ve known many famous people, but they didn’t know me.”  “If you go there wanting to be their friend, you’re in trouble.”  Were Italie and Fonda strangers?  He wasn’t supposed to ask questions about politics or movies. How did he get all that information?

15.  You don’t save your toughest question for last, you save it for the right moment.  There’s no real “list” of questions.  Public people lie about private lives constantly.  The closer you get to their work, the more likely they are to tell the truth.  There are no bad interview subjects.

16.  Most subjects pegged as bad interviews, are just people who won’t put up with stupid questions.  Research is half your job as an interviewer.  Ask your questions.  Listen.  Be fair, helpful and honest.

17.  THE END