HOMETHE UNQUIET DAUGHTER EXCERPTBooksTHE NEW YORK TIMESDAILY NEWS SUNDAY MAGAZINETHE DAILY BEASTASSOCIATED PRESSTHE EVENING SUNTHE MIAMI NEWSSUNSHINE MAGAZINENEW YORK MAGAZINEMIAMI MAGAZINEOTHER ARTICLESTHE UNQUIET DAUGHTER synopsis:NOTES FOR JOURNALISM, WRITING STUDENTSSELECTED BIBLIOGRAPHY FOR WRITERS, JOURNALISTSABOUT DANIELLE FLOODLINKS & CREDITSBOOK SIGNINGSCONTACT DANIELLE FLOOD
NOTES FOR JOURNALISM, WRITING STUDENTS

BEST BRIEF WRITING GUIDE
 
"Any story properly covered is a feature story." -- Meyer Berger
 
Handed down from the late Prof. Edward A. Walsh, Fordham U., to his student, Louis D. Boccardi, adjunct associate professor, Fordham U., to his students, including Danielle Flood, to you.
 
WRITINGMEMO-berger-walsh.jpgNotes taken by Prof. Edward A. Walsh, Fordham University, on the late Meyer Berger of The New York Times:
 
"The key to any good feature story is its 'utter simplicity.' Look for the core of the story. Pick out a single thread and 
follow it. Have a logical beginning, a readable middle and a logical end. A good ending is not an artificial device. 
 
"'Try to capture dimension, color and sound. LOOK AND LISTEN. A feature story conveys a mood, portrays a character, describes a scene. There should be something of sound, lights and shadow, color in a story. Some stories you see, some you hear, some you feel -- some have all of these.
 
"'Any story properly covered is a feature story. Questions and answers may make good reading, but not so good as what is obtained by sitting and listening. Be sensitive to your surroundings, get a complete picture and your story comes alive.
 
"'You must exercise a certain amount of restraint or you will go overboard. Learn to pull the reins. Understatement is the most important technique in writing, and the most difficult to learn. Do not overdo your tears, tragedy, humor -- always stop this side of excess. Once you have made your point do not hammer at it. Do not add extra words, rather go over your copy and knock them out. Pick out your best anecdote and discard the others. Make your point and leave it there.
 
"'Your story must convey information. There is no substitute for facts. Get every possible detail you can, even if you are not going to use it. If anything is -- or seems to be pertinent -- get it. You cannot fool readers, because you cannot fool yourself. Get away from the tendency to introduce your own cleverness. Reporters should never get between themselves and their readers. Be objective, let the facts speak for themselves. Make things specific -- a specific house, a specific family. 
 
"'In doing a story that is largely interview, pick out the most significant lines and passages. Do not quote by the yard -- do not do a stenographic job. Put yourself in the place of the person you are writing about. We write best what we see, hear and feel. But if somebody else's viewpoint gets the idea over better use it. If the device throws the writer in the shade, so much the better.' Make things come alive when you write.
 
"'In everything, you have got to do reporting. The colorful things that come out of seemingly colorless occupations are amazing. Dig them out. If you don't have the curiousity to drive you on, drop this work. There is no reason for being in this work except for the intangibles -- curiosity about people and what is back of things -- back of apparently obvious facts. '
 
"Nobody has ever satisfactorily defined a feature story. Pick out the most exciting thing to rivet the reader's attention. 'Never use 'I' or the editorial 'we'. Use dialect sparingly, if at all. Let people know there is a dialect, but once that is established, drop it. Read up all the background you can on your subject. Get it at your fingertips. Put meat in every sentence. Do not waste words. Collect ten times as much material as you will use. Weed it out rigidly.
 
"Watch the person you are writing about when he is in action. Get in the relieving lights. Watch for little gestures. Live the other person's life but keep factual -- keep specific.
 
"There is no formula for questioning. If you are curious about something, the questions will come. Your own curiosity is your best guide. Use the calmest possible language -- in the end it is the most effective. It is hard to discard material you have worked to gather, it is difficult to learn to do it, but you must. A story that takes hours of listening may be read in a few minutes.
 
"Your personality will shine through what you write. If that 'something' is in you, your style will develop. Write in your natural form, do not get artificial." 
 
 
STIMULATING QUOTE:
 
"Stories are for joining the past to the future." -- Tim O'Brien, novelist.
 
 
WRITINGMEMO-berger-walsh.jpg 
 


 


"Style is a very simple matter; it is all rhythm. Once you get that, you can't use the wrong words... Now this is very profound, what rhythm is, and goes far deeper than any words. A sight, an emotion, creates this wave in the mind, long before it makes words to fit it.” - Virginia Woolf

FAVORITES BECAUSE...

Over the more than 35 years of reporting, certain experiences stand out, such as a

Favorite Spot News Story

Favorite Feature Story

Second Favorite Feature Story

Scariest Reporter's Moment

Regretted Decision (leaving Miami News)

Best unregretted Decision (going fishing)

 

 

 

 

 


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