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Purchase Benefits
What is included with this book?
Stories matter | p. 3 |
Delving into private lives | p. 6 |
The narrative idea | p. 10 |
Difficult journalism that's slap-up fun | p. 14 |
Finding good topics : a writer's questions | p. 20 |
Finding good topics : an editor's questions | p. 22 |
Reporting for narrative : ten overlapping rules | p. 24 |
To tape or not to tape? | p. 28 |
Interviewing : accelerated intimacy | p. 30 |
The psychological interview | p. 34 |
Participatory reporting : sending myself to prison | p. 35 |
Being there | p. 39 |
Not always being there | p. 45 |
Reporting across cultures | p. 46 |
Reporting on your own | p. 48 |
Field notes to full draft | p. 51 |
Doing enough reporting? | p. 54 |
From story idea to published story | p. 55 |
(Narrative) J school for people who never went | p. 59 |
Profiles | p. 66 |
The ladder of abstraction | p. 70 |
Every profile is an epic story | p. 71 |
The limits of profiles | p. 73 |
Travel writing : inner and outer journeys | p. 74 |
The personal essay and the first-person character | p. 78 |
First personal singular : sometimes, it is about you | p. 81 |
Columns : intimate public conversations | p. 83 |
Writing about history | p. 86 |
Adventures in history Melissa | p. 88 |
Narrative investigative writing | p. 89 |
Public radio : community storytelling | p. 92 |
What narrative writers can learn from screenwriters | p. 98 |
To begin the beginning | p. 100 |
Narrative distance | p. 103 |
Hearing our subjects' voices : quotes and dialogue | p. 104 |
Hearing our subjects' voices : keeping it real and true | p. 107 |
A story structure | p. 109 |
Summary versus dramatic narrative | p. 111 |
Weaving story and idea | p. 112 |
Endings | p. 116 |
Character | p. 126 |
Details matter | p. 128 |
Developing character | p. 129 |
Reconstructing scenes | p. 132 |
A reconstructed scene | p. 135 |
Setting the scene | p. 136 |
Handling time | p. 139 |
Sequencing : text as line | p. 140 |
Writing complicated stories | p. 145 |
How I get to the point | p. 148 |
The emotional core of the story | p. 149 |
Telling the story, telling the truth | p. 154 |
On voice | p. 158 |
The line between fact and fiction | p. 164 |
Toward an ethical code for narrative journalists | p. 170 |
Playing fair with subjects | p. 172 |
Securing consent | p. 176 |
Truth and consequences | p. 177 |
Dealing with danger : protecting your subject and your story | p. 178 |
A dilemma of immersion journalism | p. 182 |
Ethics in personal writing | p. 184 |
Taking liberties : the ethics of the truth | p. 187 |
The ethics of attribution | p. 189 |
What about endnotes? | p. 192 |
On style | p. 198 |
A writer and editor talk shop | p. 202 |
Revising - over and over again | p. 205 |
Transforming one hundred notebooks into thirty-five thousand words | p. 208 |
How to come lip short | p. 212 |
Narrative in four boxes | p. 216 |
Serial narratives | p. 218 |
Care and feeding of editors and writers | p. 221 |
Beginning in narrative | p. 228 |
A brief history of narrative in newspaper | p. 230 |
Nurturing narrative in the newsroom | p. 233 |
A storyteller's Lexicon | p. 235 |
Narrative as a daily habit | p. 239 |
Building a narrative team | p. 243 |
Two visions, one series : a writer and an editor talk about what they do | p. 246 |
Team storytelling | p. 251 |
Photographer as narrative storyteller | p. 254 |
Subversive storytellers : starting a narrative group | p. 256 |
Making it as a freelancer | p. 264 |
Not stopping : time management for writers | p. 268 |
Lessons from the jury box | p. 271 |
Working with an agent Melissa | p. 272 |
What makes a good book? | p. 274 |
From book idea to book contract | p. 276 |
Your book and the marketplace | p. 278 |
Crossing over : from advocacy to narrative | p. 281 |
A passion for writing | p. 284 |
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