STORYTELLING AND WRITING FOR BROADCAST

“The heart of what we do is writing. We have pictures, but they don’t matter unless you have a cohesive narration to go with it. Anybody can string a few facts together, but not everyone can tell a story.” –John Antonio, WABC-TV –John Antonio, WABC-TV

Storytelling Modern-day broadcast reporting boils down to telling a story. The underlying process of storytelling has changed little in thousands of years.

Preparing to Write Be sure you understand the information Be sure you understand the information Be sure the audience understands Be sure the audience understands Put yourself in the listener’s seat Put yourself in the listener’s seat Make the story clear and simple Make the story clear and simple Be sure the audience cares Be sure the audience cares –Will they listen? –Why should they care? –Connect the story to the audience

Preparing to Write, continued Identify the characters Personalize the story Use the “diamond effect”

The Diamond Effect One child and the long drive to school because of the closed bridge. The more general story, i.e., numbers affected, reasons for closure, effects on others. Same child as beginning—on the drive home from school— looking to future.

Preparing to Write, continued Review the five W’s Review the five W’s – Who, what, when, where & why Boil it down to three words Boil it down to three words –WHO did WHAT to WHOM, or –WHO did WHAT to WHAT? Find the appropriate storytelling style & pace Find the appropriate storytelling style & pace

Preparing to Write, continued Determine an angle Determine an angle Keep it simple Keep it simple Prepare information for the ear Prepare information for the ear Write in short, declarative sentences Write in short, declarative sentences

The Lead The first paragraph in newspaper stories/the first sentence in broadcast stories Must draw viewer’s/listener’s Must draw viewer’s/listener’s attention attention Sets the tone for the story Sets the tone for the story Includes many of the basic facts Includes many of the basic facts Determines whether a story will be Determines whether a story will be heard/watched heard/watched

The Hard Lead A straightforward first sentence that begins giving information immediately A straightforward first sentence that begins giving information immediately –Most common lead –Preferred by reporters –Used for serious, breaking stories U.S. forces are striking Taliban targets in Afghanistan this morning.

The Soft Lead Gives listeners only a general idea what the story is about Gives listeners only a general idea what the story is about –Five W’s follow the lead –Used for features, not hard news –Can provide an interesting angle Americans are sipping their coffee this morning and forming opinions about last night’s air strikes against Afghanistan.

The Throwaway Lead Entices the viewer to listen further without giving away any real information Entices the viewer to listen further without giving away any real information –Does not reveal the subject –Teases the viewer into learning the details –Could be eliminated without affecting viewer understanding Several area businesses shut down last night but no one is complaining.

The Umbrella Lead Introduces more than one subject or different parts of the same story Introduces more than one subject or different parts of the same story –Includes a lot of information –Encourages viewer to listen/watch to see how two parts of story fit together –May include five W’s Military leaders are deciding the next course of action in Afghanistan, while refugees are flooding out of the country.

The Question Lead Asks viewers a question at the beginning of the story that helps involve them Asks viewers a question at the beginning of the story that helps involve them –May not introduce real subject –Use sparingly; may irritate audience –Audience should care about the answer –Be certain to answer the question –Most effective in stories about debatable subjects Are the streets in our town safer for our children and for our police officers tonight?

The Suspense Lead Establishes anticipation & expectation for a resolution Establishes anticipation & expectation for a resolution –Facts often told in chronological order –Payoff comes at end of story –Payoff must be worth the wait –Should not be overused Israel’s new political stance might signify trouble for a group meeting this week in Washington.

Developing the Story: Chronological Order Recounts events as they unfolded, in the order they actually happened. Can be dramatic Can be dramatic Can tempt writer to include Can tempt writer to include unnecessary detail unnecessary detail

Developing the Story: Main Point Begins with the main point (or turning point) & then adds supporting details More effective than chronological order

Developing the Story: Present, Past, Future Looks at the present, reviews the past & then looks to the future. Looks at the present, reviews the past & then looks to the future. –Here’s where we are –Here’s how we got here (may include a sticking point or problem) –Here’s what is expected to happen Also works for lighter story or feature Also works for lighter story or feature –Here’s where we are –Here’s how it became a story –Here’s why we’re interested –Here’s what is expected to happen

Sound Bites A short segment of a taped interview that is edited into a news package.  Adds credibility—source of information is believable  Adds emotion or opinion reporter can’t provide  Adds variety  Usually around 10 seconds  Can prevent viewer from gaining insight into the individual  A story may have one sound bite or several interspersed throughout.

The “How do you feel?” Question A predictable question & answer can be irritating Viewers object if reporters make subject uncomfortable Each expression of suffering is unique Audience remembers story if they can relate to the victims Victims often want the audience to hear their feelings Exercise care in probing for emotions

Write to the Sound Bite Choose the sound bite as the first step in writing the story Choose the sound bite as the first step in writing the story Provide lead-ins to sound bites Provide lead-ins to sound bites –Introduces the person speaking –Helps establish qualifications of interviewee Avoid echo lead-ins Avoid echo lead-ins Inform with lead-ins Inform with lead-ins

Write to the Video Tell the story in a way that makes best use of video Tell the story in a way that makes best use of video Don’t directly describe understandable pictures Don’t directly describe understandable pictures Writing & video may tell more than one story at a time Writing & video may tell more than one story at a time

Ending the Story Tell what happens next Tell what happens next As many as 20 additional arrests are expected in the next 24 hours. Provide a summary Provide a summary So... police believe almost half the city’s drug dealers have been put out of business. Tell the other side Tell the other side Those charged could face up to 25 years in prison if convicted. For tonight, jailers are trying to accommodate the first full house in history.

Ending the Story, continued Include a bit of interesting information Include a bit of interesting information Police have seized four cars and will sell them to finance future drug stings. End the suspense created earlier with the suspense lead End the suspense created earlier with the suspense lead Lead: A telephone call began and ended a dangerous evening for area police. End: The night ended with officers calling home to assure family members.