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+The Project Gutenberg EBook of Newspaper Reporting and Correspondence, by 
+Grant Milnor Hyde
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Newspaper Reporting and Correspondence
+       A Manual for Reporters, Correspondents, and Students of
+       Newspaper Writing
+
+Author: Grant Milnor Hyde
+
+Release Date: July 4, 2008 [EBook #25968]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NEWSPAPER REPORTING ***
+
+
+
+
+Produced by Jacqueline Jeremy and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/American Libraries.)
+
+
+
+
+
+
+
+
+
+    NEWSPAPER REPORTING
+    AND CORRESPONDENCE
+
+    A MANUAL FOR REPORTERS,
+    CORRESPONDENTS, AND STUDENTS
+    OF NEWSPAPER WRITING
+
+    BY
+
+    GRANT MILNOR HYDE, M.A.
+
+    INSTRUCTOR IN JOURNALISM IN THE
+    UNIVERSITY OF WISCONSIN.
+
+
+    NEW YORK AND LONDON
+    D. APPLETON AND COMPANY
+    1912
+
+
+    COPYRIGHT, 1912, BY
+    D. APPLETON AND COMPANY
+
+    Printed in the United States of America
+
+
+    TO
+    MY MOTHER
+
+
+
+
+INTRODUCTION
+
+
+The purpose of this book is to instruct the prospective newspaper
+reporter in the way to write those stories which his future paper will
+call upon him to write, and to help the young cub reporter and the
+struggling correspondent past the perils of the copyreader's pencil by
+telling them how to write clean copy that requires a minimum of editing.
+It is not concerned with the _why_ of the newspaper business--the editor
+may attend to that--but with the _how_ of the reporter's work. And an
+ability to write is believed to be the reporter's chief asset. There is
+no space in this book to dilate upon newspaper organization, the work of
+the business office, the writing of advertisements, the principles of
+editorial writing, or the how and why of newspaper policy and practice,
+as it is. These things do not concern the reporter during the first few
+months of his work, and he will learn them from experience when he needs
+them. Until then, his usefulness depends solely upon his ability to get
+news and to write it.
+
+There are two phases of the work which every reporter must learn: how to
+get the news and how to write it. The first he can pick up easily by
+actual newspaper experience--if nature has endowed him with "a nose for
+news." The writing of the news he can learn only by hard practice--a
+year's hard practice on some papers--and it is generally conceded that
+practice in writing news stories can be secured at home or in the
+classroom as effectively as practice in writing short stories, plays,
+business letters, or any other special form of composition. Newspaper
+experience may aid the reporter in learning how to write his stories,
+but a newspaper apprenticeship is not absolutely necessary. However,
+whether he is studying the trade of newspaper writing in his home, in a
+classroom, or in the city room of a daily paper, he needs positive
+instruction in the English composition of the newspaper office--rather
+than haphazard criticism and a deluge of "don'ts." Hence this book is
+concerned primarily with the writing of the news.
+
+Successful newspaper reporting requires both an ability to write good
+English and an ability to write good English in the conventional
+newspaper form. And there is a conventional form for every kind of
+newspaper story. Many editors of the present day are trying to break
+away from the conventional form and to evolve a looser and more natural
+method of writing news stories. The results are often bizarre and
+sometimes very effective. Certainly originality in expression adds much
+to the interest of newspaper stories, and many a good piece of news is
+ruined by a bald, dry recital of facts. Just as the good reporter is
+always one who can give his yarns a distinctive flavor, great newspaper
+stories are seldom written under the restriction of rules. But no young
+reporter can hope to attain success through originality and defiance of
+rules until he has first mastered the fundamental principles of
+newspaper writing. He can never expect to write "the story of the year"
+until he has learned to handle everyday news without burying the gist of
+his stories--any more than an artist can hope to paint a living portrait
+until he has learned, with the aid of rules, to draw the face of a
+plaster block-head. Hence the emphasis upon form and system in this
+book. And, whatever the form may be, the embodiment must be clear,
+concise, grammatical English; that is the excuse for the many axioms of
+simple English grammar that are introduced side by side with the study
+of the newspaper form.
+
+The author offers this book as the result of personal newspaper
+experience and of his work as instructor in classes in newspaper writing
+at the University of Wisconsin. Every item that is offered is the result
+of an attempt to correct the mistakes that have appeared most often in
+the papers of students who are trying to do newspaper writing in the
+classroom. The seemingly disproportionate emphasis upon certain branches
+of the subject and the constant repetition of certain simple principles
+are to be excused by the purpose of the book--to be a text-book in the
+course of study worked out in this school of journalism. The use of the
+fire story as typical of all newspaper stories and as a model for all
+newspaper writing is characteristic of this method of instruction. Four
+chapters are devoted to the explanation of a single principle which any
+reader could grasp in a moment, because experience has shown that an
+equivalent of four chapters of study and practice is required to teach
+the student the application of this principle and to fix it in his mind
+so thoroughly that he will not forget it in his later work of writing
+more complicated stories. It is felt that the beginner needs and must
+have the detailed explanation, the constant reiteration and some
+definite rules to guide him in his practice. Hence the emphasis upon the
+conventional form. Since, in the application of the newspaper principle
+of beginning with the gist of the story, the structure of the lead is of
+greater importance than the rest of the story, this book devotes the
+greater part of its discussion to the lead.
+
+The suggestions for practice are attached in an attempt to give the
+young newspaper man some _positive_ instruction. Most reporters are
+instructed by a system of "don'ts," growled out by busy editors; most
+correspondents receive no instruction at all--a positive suggestion now
+and then cannot but help them both. Practice is necessary in the study
+of any form of writing; these suggestions for practice embody the method
+of practice used in this school of journalism. The examples are taken
+from representative papers of the entire country to show the student how
+the stories are actually written in newspaper offices.
+
+    Madison, Wisconsin,
+        June 3, 1912.
+
+
+
+
+CONTENTS
+
+
+    CHAPTER                                          PAGE
+
+          I. GATHERING THE NEWS                         1
+
+         II. NEWS VALUES                               14
+
+        III. NEWSPAPER TERMS                           28
+
+         IV. THE NEWS STORY FORM                       34
+
+          V. THE SIMPLE FIRE STORY                     41
+
+         VI. THE FEATURE FIRE STORY                    50
+
+        VII. FAULTS IN NEWS STORIES                    75
+
+       VIII. OTHER NEWS STORIES                       105
+
+         IX. FOLLOW-UP AND REWRITE STORIES            125
+
+          X. REPORTS OF SPEECHES                      143
+
+         XI. INTERVIEWS                               169
+
+        XII. COURT REPORTING                          192
+
+       XIII. SOCIAL NEWS AND OBITUARIES               204
+
+        XIV. SPORTING NEWS                            219
+
+         XV. HUMAN INTEREST STORIES                   233
+
+        XVI. DRAMATIC REPORTING                       259
+
+       XVII. STYLE BOOK                               276
+
+       APPENDIX I--SUGGESTIONS FOR STUDY              294
+
+       APPENDIX II--NEWS STORIES TO BE CORRECTED      311
+
+       INDEX                                          339
+
+
+
+
+NEWSPAPER REPORTING AND CORRESPONDENCE
+
+I
+
+GATHERING THE NEWS
+
+
+Unlike almost any other profession, that of a newspaper reporter
+combines two very different activities--the gathering of news and the
+writing of news. Part of the work must be done in the office and part of
+it outside on the street. At his desk in the office a reporter is
+engaged in the literary, or pseudo-literary, occupation of writing news
+stories; outside on the street he is a detective gathering news and
+hunting for elusive facts to be combined later into stories. Although
+the two activities are closely related, each requires a different sort
+of ability and a different training. In a newspaper office the two
+activities are rarely separated, but a beginner must learn each duty
+independent of the other. This book will not attempt to deal with both;
+it will confine itself mainly to one phase, the pseudo-literary
+activity of writing news stories.
+
+However, introductory to the discussion of the writing of newspaper
+stories, we may glance at the other side of the newspaper writer's
+work--the gathering of the news. Where the newspaper gets its news and
+how it gets its news can be learned only by experience, for it differs
+in different cities and with different papers. But an outline of the
+background of news-gathering may assist us in writing the news after it
+is gathered and ready for us to write.
+
+
+=1. Reporter vs. Correspondent.=--There are two capacities in which one
+may write news stories for a paper. He may work on the staff as a
+regular reporter or he may supply news from a distance as a
+correspondent. In the one case he works under the personal supervision
+of a city editor and spends his entire time at the regular occupation of
+gathering and writing news. As a correspondent he works in a distant
+city, under the indirect supervision of the city, telegraph, or state
+editor, and sends in only the occasional stories that seem to be of
+interest to his paper. In either case the same rules apply to his news
+gathering and to his news writing. And in either case the length of his
+employment depends upon his ability to turn in clean copy in the form
+in which his paper wishes to print the news. Both the reporter and the
+correspondent must write their stories in the same form and must look at
+news and the sources of news from almost the same point of view.
+Whatever is said of the reporter applies equally to the correspondent.
+
+
+=2. Expected and Unexpected News.=--The daily news may be divided into
+two classes from the newspaper's point of view: expected and unexpected
+news. Expected news includes all stories of which the paper has a
+previous knowledge. Into this class fall all meetings, speeches,
+sermons, elections, athletic contests, social events, and daily
+happenings that do not come unexpectedly. They are the events that are
+announced beforehand and tipped off to the paper in time for the editor
+to send out a reporter to cover them personally. These events are of
+course recorded in the office, and each day the editor has a certain
+number of them, a certain amount of news that he is sure of. Each day he
+looks over his book to note the events that are to take place during
+that day and sends out his reporters to cover them.
+
+The other class includes the stories that break unexpectedly. Accidents,
+deaths, fires, storms, and other unexpected happenings come without
+warning and the reporting of them cannot be arranged for in advance.
+These are the stories that the paper is most anxious to get and the
+things for which the whole staff always has its eyes and ears open.
+Seldom are they heard of in time for the paper to have them covered
+personally, and the reporting of such stories becomes a separate sort of
+work--the gathering and sorting of the facts that can be obtained only
+from chance witnesses.
+
+
+=3. News Sources.=--There are certain sources from which the paper gets
+most of its tips of expected events and its knowledge of unexpected
+events. These every editor knows about. The courts, the public records,
+the public offices, the churches, and the schools furnish a great many
+of the tips of expected news. The police stations, the fire stations,
+the hospitals, and the morgues furnish most of the tips of unexpected
+news. Whenever an event is going to happen, or whenever an unexpected
+occurrence does happen, a notice of it is to be found in some one of
+these sources. Such a notice or a casual word from any one is called a
+"tip" and indicates the possibility of securing a story. The securing of
+the story is another matter. A would-be reporter may get good practice
+from studying the stories in the daily papers and trying to discover or
+imagine from what source the original news tip came. He will soon find
+that certain classes of stories always come from certain sources and
+that there is a perceptible amount of routine evident in the accounts
+of the most unexpected occurrences.
+
+
+=4. Runs and Assignments.=--Between the news tip and the finished copy
+for the compositor there is a vast amount of news gathering, which falls
+to the lot of the reporter. This is handled by a system of runs and
+special assignments. A reporter usually has his own run, or beat, on
+which he gathers news. His run may cover a certain number of police
+stations or the city hall or any group of regular news sources. Each day
+he must visit the various sources of news on his beat and gather the
+tips and whatever facts about the stories behind the tips that he can.
+The tips that he secures furnish him with clues to the stories, and it
+is his business to get the facts behind all of the tips on his beat and
+to write them up, unless a tip opens up a story that is too big for him
+to handle alone without neglecting his beat.
+
+Assignments are used to cover the stories that do not come in through
+the regular sources, and to handle the big stories that are unearthed on
+the regular beats. The editor turns over to the reporter the tip that he
+has received and instructs him to go out and get the facts. A paper's
+best reporters are used almost entirely on assignments, and when they go
+out after a story they practically become detectives. They follow every
+clue that the tip suggests and every clue that is opened up as they
+progress; they hunt down the facts until they are reasonably sure that
+they have secured the whole story. The result may not be worth writing,
+or it may be worth a place on the front page, but the reporter must get
+to the bottom of it. Whether on a beat or on an assignment every
+reporter must have his ears open for a tip of some unexpected story and
+must secure the facts or inform the editor at once. It is in this way
+that a paper gets a scoop, or beat, on its rivals by printing a story
+before the other papers have heard of it.
+
+
+=5. Interviews for Facts.=--To cover an assignment and secure the facts
+of a story is not at all easy. If the reporter could be a personal
+witness of the happening which he is to report, the task would be
+simpler. But, outside the case of expected events, he rarely hears of
+the occurrence until after it is past and the excitement has subsided.
+Then he must find the persons who witnessed the occurrence or who know
+the facts, and get the story from them. Perhaps he has to see a dozen
+people to get the information he wants. Getting facts from people in
+this way is called interviewing--interviewing for facts, as
+distinguished from formal interviewing for the purpose of securing a
+statement or an opinion that is to be printed with the name of the man
+who utters it. Although a dozen interviews may be necessary for a
+single story, not one of them is mentioned in the story, for they are of
+no importance except in the facts that they supply.
+
+For example, suppose a reporter is sent out to get the story of a fire
+that has started an hour or two before he goes on duty. All that his
+editor gives him is the tip from the fire department, or from some other
+source, of a fire at such-and-such an address. When he arrives at the
+scene there is nothing left but smoldering ruins with perhaps an engine
+throwing a stream on the smoking débris and a few by-standers still
+loitering about. He can see with his own eyes what kind of building has
+burned, and how completely it has been destroyed. A by-stander may be
+able to tell him who occupied the building or what it was used for, but
+he must hunt for some one else who can give him the exact facts that his
+paper wants. Perhaps he can find the tenant and learn from him what his
+loss has been. The tenant can give him the name of the owner and may be
+able to tell him something about the origin of the fire. He must find
+the owner to get the value of the building and the amount of insurance
+carried. Perhaps he cannot find any of these people and must ask the
+fire chief or some one else to give him what facts and estimates he can.
+If the fire is at all serious he must find out who was killed or
+injured and get their names and addresses and the nature of their injury
+or the manner of their death. Perhaps he can talk to some of the people
+who had narrow escapes, or interview the friends or relatives of the
+dead. Everywhere he turns new clues open up, and he must follow each one
+of them in turn until he is sure that he has all the facts.
+
+
+=6. Point of View.=--The task would be easy if every one could tell the
+reporter just the facts that his paper wants. But in the confusion every
+one is excited and fairly bubbling over with rumors and guesses which
+may later turn out to be false. Each person who is interested in the
+incident sees and tells it only from his own point of view. Obviously
+the reporter's paper does not want the facts from many different points
+of view, nor even from the point of view of the fire department, of the
+owner, or of the woman who was rescued from the third floor. The paper
+wants the story from a single point of view--the point of view of an
+uninterested spectator. Consequently the reporter must get the facts
+through interviews with a dozen different people, discount possible
+exaggeration and falsity due to excitement, make allowances for the
+different points of view, harmonize conflicting statements, and sift
+from the mass what seems to him to be the truth. Then he must write the
+story from the uninterested point of view of the public, which wants to
+hear the exact facts of the fire told in an unprejudiced way. Never does
+the story mention any of the interviews behind it except when the
+reporter is afraid of some statement and wants to put the responsibility
+upon the person who gave it to him. And so the finished story that we
+read in the next morning's paper is the composite story of the fire
+chief, the owner, the tenant, the man who discovered the fire, the widow
+who was driven from her little flat, the little girl who was carried
+down a ladder through the smoke, the man who lost everything he had in
+the world, and the cynic who watched the flames from behind the
+fireline--all massed together and sifted and retold in an impersonal way
+from the point of view of a by-stander who has been everywhere through
+the flames and has kept his brain free from the terror and excitement of
+it all.
+
+The same is true of every story that is printed in a newspaper. Every
+story must be secured in the same way--whether it is the account of a
+business transaction, a bank robbery, a political scandal, a murder, a
+reception, or a railroad wreck. Seldom is it possible to find any one
+person who knows all the facts just as the newspaper wants them, and
+many a story that is worth but a stickful in the first edition is the
+result of two hours' running about town, half a dozen telephone calls,
+and a dozen interviews. That is the way the news is gathered, and that
+is the part of the reporter's work that he must learn by experience. But
+after all the gathering is finished and he has the facts, the writing of
+the story remains. If the reporter knows how to write the facts when he
+has them, his troubles are cut in half, for nowadays a reporter who
+writes well is considered a more valuable asset than one who cannot
+write and simply has a nose for news.
+
+
+=7. News-Gathering Agencies.=--This account of news gathering is of
+course told from the point of view of the reporter. Naturally it assumes
+a different aspect in the editor's eyes. Much of the day's news does not
+have to be gathered at all. A steady stream of news flows in ready for
+use from the great news-gathering agencies, the Associated Press, the
+United Press, the City Press, etc., and from correspondents. Many
+stories are merely summaries of speeches, bulletins, announcements,
+pamphlets and other printed matter that comes to the editorial office,
+and many stories come already written. Almost everybody is looking for
+publicity in these days and the editor does not always have to hunt the
+news with an army of ferrets. Coöperation in news gathering has
+simplified the whole matter. But it all has to be written and edited.
+That is why great reporters are no longer praised for their cleverness
+in worming their way to elusive facts, but for their ability to write a
+good story. That is why we no longer hear so much about beats and scoops
+but more about clean copy and "literary masterpieces."
+
+
+=8. How the Correspondent Works.=--The correspondent gathers news very
+much as the reporter does, but he does it without the help of a city
+editor. He must be his own director and keep his own book of tips, for
+he has no one to make out his assignments beforehand. He has to watch
+for what news he can get by himself and send it to his paper of his own
+accord, except occasionally when his paper instructs him to cover a
+particularly large story. But he gets his tips and runs down his facts
+just as a reporter does. Just as much alertness and just as much ability
+to write are required of him.
+
+The correspondent's work is made more difficult by what is called news
+values. Distance affects the importance of the facts that he secures and
+the length of the stories he writes. He must weigh every event for its
+interest to readers a hundred or a thousand miles away. What may be of
+immense importance in his community may have no interest at all for
+readers outside that community. He must see everything with the eyes of
+a stranger, and this must influence his whole work of news gathering
+and news writing. This matter will be taken up at greater length in the
+next chapter.
+
+
+=9. Correspondent's Relation to His Paper.=--The relations of a
+correspondent to the paper or news association to which he is sending
+news can best be learned by experience. Every paper has different rules
+for its correspondents and different directions in regard to the sort of
+news it wants. The rules regarding the mailing of copy and the sending
+of stories or queries by telegraph are usually sent out in printed form
+by each individual paper to its correspondents. But while gathering news
+and writing stories for a distant paper, a correspondent must always
+regard himself as a reporter and write his stories in the form in which
+they are to appear in print if he wishes to remain correspondent for any
+length of time. The following rules are taken from the "INSTRUCTIONS TO
+CORRESPONDENTS" sent out on a printed card to the correspondents of the
+St. Louis _Star_:
+
+    QUERY BY WIRE ON ALL STORIES you consider are worth
+    telegraphing, unless you are absolutely certain _The Star_
+    wants you to send the story without query, or in case of a big
+    story breaking suddenly near edition time. If you have not time
+    to query, get a reply and send such matter as might be ordered
+    before the next edition time; send the story in the shortest
+    possible number of words necessary to tell it, asking if
+    additional matter is desired.
+
+    Write your queries so they can be understood. Never send a
+    "blind" query. If John Smith, a confirmed bachelor, whose age is
+    80 years, elopes with and marries the daughter of the woman who
+    jilted him when he was a youth, say so in as few words as
+    possible, but be sure to convey the dramatic news worth of the
+    story in your query. Do not say, "Bachelor elopes with girl,
+    daughter of woman he knew a long time ago." In itself the story
+    which this query tells might be worth printing, but it would not
+    be half so good a story as the elopement of John Smith, 80,
+    bachelor, woman hater, with the daughter of his old sweetheart.
+
+    When a good story breaks close to edition time and the
+    circumstances justify it, use the long-distance telephone, but
+    first be reasonably certain _The Star_ will not get the story
+    from another source.
+
+    Write your stories briefly. _The Star_ desires to remunerate its
+    correspondents according to the worth of a story and not for so
+    many words. One good story of 200 words with the right "punch"
+    in the introduction is worth a dozen strung over as many dozen
+    pages of copy paper with the real story in the last paragraph of
+    each. Tell your story in simple, every-day conversational words:
+    quit when you have finished. Relegate the details. Unless it is
+    a case of identification in a murder mystery, or some similar
+    big story, no one cares about the color of the man's hair. Get
+    the principal facts in the first paragraph--stop soon after.
+
+    Send as much of your stuff as possible by mail, especially if
+    you have the story in the late afternoon and are near enough to
+    St. Louis to reach _The Star_ by 9 o'clock the next morning. If
+    necessary, send the letter special delivery.
+
+    Don't stop working on a good story when you have all the facts;
+    if there are photographs to be obtained, get the photographs,
+    especially if the principals in the story are persons of
+    standing, and more especially if they are women.
+
+    Correspondents will appreciably increase their worth to _The
+    Star_ and enhance their earning capacity by observing these
+    rules.
+
+
+
+
+II
+
+NEWS VALUES
+
+
+Before any one can hope to write for a newspaper he must know something
+about news values--something about the essence of interest that makes
+one story worth a column and cuts down another, of equal importance from
+other points of view, to a stickful. He must recognize the relative
+value of facts so that he can distinguish the significant part of his
+story and feature it accordingly. The question is a delicate one and yet
+a very reasonable and logical one. The ideal of a newspaper, according
+to present-day ethics, is to print news. The daily press is no longer a
+golden treasury of contemporary literature, not even, perhaps, an
+exponent of political principles. Its primary purpose is to report
+contemporary history--to keep us informed concerning the events that are
+taking place each day in the world about us.
+
+To this idea is added another. A newspaper must be interesting. In these
+days of many newspapers few readers are satisfied with merely being
+informed; they want to be informed in a way that interests them. To
+this demand every one connected with a newspaper office tries to cater.
+It is the defense of the sensational yellow journals and it is the
+reason for everything in the daily press. There is so much to read that
+people will not read things that do not interest them, and the paper
+that succeeds is the paper that interests the greatest number of
+readers. Circulation cannot be built up by printing uninteresting stuff
+that the majority of readers are not interested in, and circulation is
+necessary to success.
+
+This desire to interest readers is behind the whole question of news
+values. News is primarily the account of the latest events, but, more
+than that, it is the account of the latest events that interest readers
+who are not connected with these events. Further than that, it is the
+account of the latest events that interest the greatest number of
+readers. Susie Brown may have sprained her ankle. The fact is
+absorbingly interesting to Susie; it is even rather interesting to her
+family and friends, even to her enemies. If she is well known in the
+little town in which she lives her accident may be interesting enough to
+the townspeople for the local weekly to print a complete account of it.
+However, the event is interesting only to people who know Susie, and
+after all they do not comprise a very large number. Hence her accident
+has no news value outside the local weekly. On the other hand, had Susie
+sprained her ankle in some very peculiar manner, the accident might be
+of interest to people who do not know Susie. Suppose that she had
+tripped on her gown as she was ascending the steps of the altar to be
+married. Such an accident would be very unusual, almost unheard of.
+People in general are interested in unusual things, and many, many
+readers would be interested in reading about Susie's unusual accident
+although they did not know Susie or even the town in which she lives.
+Such a story would be the report of a late event that would interest
+many people; hence it would have a certain amount of news value. Of
+course, the reader loses sight of Susie in reading of her accident--it
+might as well have been Mary Jones--but that is because Susie has no
+news value in herself. That is another matter.
+
+
+=1. Classes of Readers.=--Realizing that his story must be of interest
+to the greatest number of people, the reporter must remember the sort of
+people for whom he is writing. That complicates the whole matter. If he
+were writing for a single class of readers he could easily give them the
+news that would interest them. But he is not; he is writing for many
+classes of people, for all classes of people. And he must interest them
+all. He is writing for the business man in his office, for the wife in
+the home, for the ignorant, for the highly educated, for the rich and
+the poor, for the old and the young, for doctors, lawyers, bankers,
+laborers, ministers, and women. All of them buy his paper to hear the
+latest news told in a way that interests them, and he has to cater to
+each and to all of them. If he were simply writing for business men he
+would give them many columns of financial news, but that would not
+interest tired laborers. An extended account of the doings of a
+Presbyterian convention would not attract the great class of men with
+sporting inclinations, and a story of a very pretty exhibition of
+scientific boxing would not appeal to the wife at home. They all buy the
+paper, and they all want to be interested, and the paper must,
+therefore, print stories that interest at least the majority of them.
+That is the question of news values. The news must be the account of the
+latest events that interest the greatest number of readers of all
+classes.
+
+This search for the universally-interesting news is the reason behind
+the sensational papers. Although the interests of any individual differ
+in almost every aspect from the interests of his neighbor, there is one
+sort of news that interests them both, that interests every human being.
+That is the news that appeals to the emotions, to the heart. It is the
+news that deals with human life--human nature--human interest news the
+papers call it. In it every human being is interested. However trivial
+may be the event, if it can be described in a way that will make the
+reader feel the point of view of the human beings who suffered or
+struggled or died or who were made happy in the event, every other human
+being will read it with interest. Human sympathy makes one want to feel
+joy and pain from the standpoint of others. Naturally that sort of news
+is always read; naturally the paper that devotes itself to such news is
+always read and is always successful as far as circulation and profits
+go. The papers that have that ideal of news behind them and forsake
+every other ideal for it are called sensational papers. Whether they are
+good or not is another question.
+
+With this idea of what news values means and the idea that news is worth
+while only when it interests the largest number of people of all
+classes, we may try to look for the things that make news interesting to
+the greatest number of people of all classes. The reporter must know not
+only what news is, but what makes it news. He must be able to see the
+things in a story that will interest the greatest number of people of
+all classes. These are many and intricate.
+
+
+=2. Timeliness.=--In the first place, news must be new. A story must
+have timeliness. Our readers want to know what happened to-day, for
+yesterday and last week are past and gone. They want to be up to the
+minute in their information on current events. Therefore a story that is
+worth printing to-day will not be worth printing to-morrow or, at most,
+on the day after to-morrow. Events must be chronicled just as soon as
+they happen. Furthermore, the story itself must show that it is new. It
+must tell the reader at once that the event which it is chronicling
+happened to-day or last night--at least since the last edition of the
+paper. That is why the reporter must never fail to put the time in the
+introduction of his story. Editors grow gray-headed trying to keep up
+with the swift passing of events, and they are always very careful to
+tell their readers that the events which they are chronicling are the
+latest events. That is the reason why every editor hates the word
+"yesterday" and tries to get "to-day" or "this morning" into the lead of
+every story. Hence, to the newspaper, everything that happened since
+midnight last night is labeled "this morning," and everything that
+happened since six o'clock yesterday afternoon is labeled "last night."
+Anything before that hour must be labeled "yesterday," but it goes in as
+"late yesterday afternoon," if it possibly can. Hence the first
+principle of news values is timeliness--news is news only because it
+just happened and can be spoken of as one of the events of "to-day" or
+of "late yesterday."
+
+
+=3. Distance.=--Distance is another factor in news values. In spite of
+fast trains and electric telegraphs human beings are clannish and local
+in their interests. They are interested mainly in things and persons
+that they know, and news from outside their ken must be of unusual
+significance to attract them. They like to read about things that they
+have seen and persons that they know, because they are slow to exert
+their imaginations enough to appreciate things that they do not know
+personally. Hence every newspaper is primarily local, even though it is
+a metropolitan daily, and news from a distance plays a very subordinate
+part. It has been said that New York papers cannot see beyond the
+Alleghanies; it is equally true that most papers cannot see more than a
+hundred miles from the printing office, except in the case of national
+news. Any newspaper's range of news sources goes out from the editorial
+room in concentric circles. Purely personal news must come from within
+the range of the paper's general circulation, because people do not care
+to read purely personal news about persons whom they do not know. Other
+news is limited ordinarily to the region with which the paper's readers
+are personally acquainted--the state, perhaps--because subscribers
+unconsciously wish to hear about places with which they are personally
+acquainted. Any news that comes from outside this larger circle must be
+nation-wide or very unusual in its interest. A story that may be worth a
+column in El Paso, Texas, would not be worth printing in New York
+because El Paso is hardly more than a name to most New York newspaper
+readers. In the same way, the biggest stories in New York are not worth
+anything in Texas, because Texas readers are not personally interested
+in New York--they cannot say, "Yes, I know that building; I walked down
+that street the other day; oh, you can't tell me anything about the
+subway." News is primarily local, and the first thing a correspondent
+must learn is how to distinguish the stories that are purely local in
+their interest from those that would be worth printing a hundred miles
+away in a paper read by people who do not know the places or persons
+involved in the story. Colonel Smith may be a very big frog in the
+little puddle of Smith's Corners, and his doings may be big news to the
+weeklies all over his county, but he has to do something very unusual
+before his name is worth a line in a paper two counties away. He is
+nothing but a name to people who do not know him or know of him, and
+therefore they are not interested in him. Every correspondent must watch
+for the stories that have something more than a local interest, some
+element of news in them that will carry them over the obstacle of
+distance and make them interesting to any reader.
+
+It would be impossible to analyze news values to the extent of telling
+every conceivable element of interest that will overcome the obstacle of
+distance. Yet there are certain elements that always make a newspaper
+story interesting to any one.
+
+
+=4. Loss of life.=--One of these is the loss of human life. For some
+strange reason every human being is interested in the thought of death.
+Just as soon as a story mentions death it is worth printing, and if it
+has a number of deaths to tell about it is worth printing anywhere. Any
+fire, any railroad wreck, or any other disaster in which a number of
+persons are killed or injured makes a story that is worth sending
+anywhere. There seems to be a joy for the reader in the mere number of
+fatalities. A story that can begin with "Ten people were killed," or
+"Seven men met their death," attracts a reader's interest at once. As a
+very natural result, and justly, too, newspapers have been broadly
+accused of exaggeration for the sake of a large number. But at present
+many papers are inclined to underestimate rather than overestimate,
+perhaps to avoid this accusation. In a number of instances in the past
+year, among them the Shirtwaist Factory fire in New York, the first
+figures were smaller than the official count printed later. That does
+not mean, however, that newspapers do not want stories involving loss of
+life. Any story which involves a large number of fatalities will carry a
+long distance, if for no other reason.
+
+
+=5. Big Names.=--Another element of news values is the interest in
+prominent people. The mere mention of a man or a woman who is known
+widely attracts attention. Although Colonel Smith of Smith's Corners has
+to do something very unusual to get his name in any paper outside his
+county, the slightest thing that President Taft does is printed in every
+paper in the country. It is simply because of our interest in the man
+himself. Some names give a story news value because the names are widely
+known politically or financially, some names because they are simply
+notorious. But any name that is recognized at once, for any reason,
+gives a story news value.
+
+
+=6. Property Loss.=--Akin to man's love for any account that involves
+large loss of human life, is his love of any story that tells about a
+huge loss of property. The mere figures seem to have a charm; any story
+that can begin with awesome figures, like "Two million dollars," "One
+hundred automobiles," "Ten city blocks," has news value. Hence any story
+that involves a large loss that can be expressed in figures has the
+power to carry a great distance.
+
+
+=7. Unusualness.=--It is safe to say that newspaper readers are
+interested in anything unusual. It does not matter whether it is a
+thing, a person, an action, a misfortune; so long as it is strange and
+out of the range of ordinary lives, it is interesting. Many, if not
+most, newspaper stories have nothing but the element of strangeness in
+them to give them news value, but if they are sufficiently strange and
+unusual they may be copied all over the country. An unusual origin or an
+unusual rescue will give an unimportant fire great news value. And so
+with every other kind of story.
+
+
+=8. Human Interest.=--Along with the element of the strange and unusual,
+goes the human interest element. Any story that will make us laugh or
+make us cry has news value. Hundreds of magazines are issued monthly
+with nothing in them but fictitious stories that are intended to arouse
+our emotions, and newspapers are beginning to realize that they can
+interest their readers in the same way. No life is so prosaic that it is
+not full of incidents that make one laugh or cry, and when these
+stories can be told in a way that will make any reader feel the same
+emotions, they have news value that will carry them a long distance.
+Obviously their success depends very largely upon the way they are told.
+
+
+=9. Personal Appeal.=--Another element that may give a story news value
+is that of personal appeal or application to the reader's own daily
+life. Men are primarily egoistic and selfish and nothing interests them
+more than things that affect them personally. They can read complacently
+and without interest of the misfortunes and joys of others, but just as
+soon as anything affects their own daily lives, even a little, they want
+to hear about it. Perhaps the price of butter has gone up a few cents or
+the gas company has reduced its rates from eighty cents to
+seventy-seven. Every reader is interested at once, for the news affects
+his own daily life. Sometimes this personal appeal is due merely to the
+reader's familiarity with the persons or places mentioned in the story;
+sometimes it is due to the story's application to his business life, his
+social or religious activities, or to any phase of his daily existence.
+That is the reason why political news interests every one, for we all
+feel that the management of the government has an influence on our own
+lives. The story of any political maneuver--especially if it is one
+that may be looked upon as bad or good--carries farther than any other
+story. Show that your story tells of something that has even the
+slightest effect on the lives of a large number of people and it needs
+no other element to give it news value.
+
+
+=10. Local Reasons.=--These factors and many others give news stories a
+news value that will carry them a long distance and make them
+interesting in communities far from their source. Many local reasons may
+enhance the value of a story for local papers. A paper's policy or some
+campaign that it is waging may give an otherwise unimportant event a
+tremendous significance. If an unimportant person is slightly injured
+while leaving a trolley car the story is hardly worth a line of type.
+But if such an item should come to a newspaper while it is carrying on a
+campaign against the local street railway company, the story would
+probably be written and printed in great detail. Any slight occurrence
+that may be in line with a paper's political beliefs would receive an
+amount of space far out of proportion with its ordinary news worth. News
+value is a very changeable and indefinite thing, and there are countless
+reasons why any given story should be of interest to a large number of
+readers. And the possibility of interesting a large number of readers is
+the basis of news value.
+
+
+=11. The Feature.=--In connection with the study of news values the
+question of feature is important. In editorial offices one is constantly
+hearing the word "feature," and reporters are constantly admonished to
+"play up the feature" of their stories. Feature is the word that editors
+use to signify the essence of news value. Every story that is printed is
+printed because of some fact in it that makes it interesting--gives it
+news value. The element in the story that makes it interesting and worth
+printing is the feature. The feature may be some prominent name, a large
+list of fatalities, a significant amount of property destroyed, or
+merely the unusualness of the incident. This feature is the element that
+makes the story news; therefore it is used to attract attention to the
+story. Every newspaper story displays like a placard in its headlines
+the reason why it was printed--the element in it that makes it
+interesting. "Playing up the feature" is simply the act of bringing this
+feature to the front so that it will attract attention to the story.
+Just how this is done we shall see later. But when, as a reporter, you
+are looking for a feature to play up in your lead, remember that the
+feature to be played up is the thing in the story that gives the story
+news value. And few stories have more than one claim to news value, more
+than one feature.
+
+
+
+
+III
+
+NEWSPAPER TERMS
+
+
+The newspaper vernacular that is used in the editorial and press rooms
+of any daily paper is a curious mixture of literary abbreviations and
+technical printing terms. It is the result of the strange mingling of
+the literary trade of writing with the mechanical trade of setting type.
+For that reason a green reporter has difficulty in understanding the
+instructions that he receives until he has been in the office long
+enough to learn the office slang. It would be impossible to list all of
+the expressions that might be heard in one day, but a knowledge of the
+commonest words will enable a reporter to get the drift of his editor's
+instructions.
+
+When a young man secures a position as reporter for a newspaper he
+begins as a _cub reporter_ and is usually said to be on the _staff_ of
+his paper. His sphere of activity is confined to the _editorial_ room,
+where the news is written; his relations with the _business office_,
+where advertising, circulation, and other business matters are handled,
+consists of the weekly duty of drawing his pay. His chief enemies are in
+the _printing office_ where his literary efforts are _set up_ in type
+and printed. His superiors are called _editors_ and exist in varying
+numbers, depending upon the size of his paper. The man who directs the
+reporters is usually called the _city editor_, or perhaps the _day_ or
+_night city editor_; above him there are managing editors and other
+persons in authority with whom the cub is not concerned; and the favored
+mortals who enjoy a room by themselves and write nothing but editorials
+are called editors or _editorial writers_. There may also be a
+_telegraph_ editor, a _sporting_ editor, a _Sunday_ editor, and many
+other editors; or if the paper is small and poor all of these editors
+may be condensed into one very busy man. On a city daily of average size
+there are _desk men_, or _copyreaders_, who work under editorial
+direction but feel superior to the reporter because they correct his
+literary efforts.
+
+The reporter's work consists of gathering and writing news. In the
+office this is called _covering_ and writing _stories_. He is ordinarily
+put on a _beat_, or _run_; this is simply a daily route or round of news
+sources which he follows as regularly as a policeman walks his beat. The
+reporter's work on a special story outside his beat is called an
+_assignment_. Any hint that he may receive concerning a bit of news is
+called a _tip_. Any bit of news that he secures to the exclusion of his
+paper's rivals is called a _beat_, or a _scoop_.
+
+Everything that is written for the paper, whether it be a two-line
+personal item or a two-column report, is called a _story_, or a _yarn_,
+and from the time the story is written until it appears in the printed
+paper it is called _copy_. If the story is well written and needs few
+corrections it is called _clean copy_. After the story is written it is
+turned over to the copyreader to be _edited_. The copyreader corrects it
+and writes the headlines or _heads_; then he sends it to the composing
+room to be set in type by the _compositor_. The story itself is usually
+set up on a linotype machine and the heads are set up by hand. For the
+sake of keeping the two parts of the copy together the reporter or the
+copyreader ordinarily gives the story a name, such as "Fire No. 2"; the
+bit of lead on which the name is printed is called a _slug_ and the
+story is said to be _slugged_. If at any time in its journey from the
+reporter's pencil to the printed page, the editor decides not to print
+the story, he _kills_ it; otherwise he _runs_ it, or allows it to go
+into the paper. When the story is in type, an impression, or _proof_, is
+taken of it, and this proof, still called copy, comes back to the
+copyreader or the proofreader for the correction of typographical
+errors. The gathering together of all of the day's stories into the form
+of the final printed page is called _making up_ the paper; this is
+usually done by some one of the editors. In like manner, the finished
+aspect of the paper is called the _make-up_.
+
+Some stories are said to be _big stories_ because of unusual news value.
+When any news comes unexpectedly it is said to _break_; and when any
+story comes in beforehand and must be held over, it is said to be
+_released_ on the day on which it may be printed. The first paragraph of
+any story is called the _lead_ (pronounced "leed"); the word _lead_ is
+also used to designate several introductory paragraphs that are tacked
+on at the beginning of a long story, which may be of the nature of a
+_running story_ (as the running story of a football game), or may be
+made up of several parts, written by one or more reporters. In general,
+that part of a story which presents the gist or summary of the entire
+story at the beginning is called the _lead_. The most interesting thing
+in the story, the part that gives it news value, is called the
+_feature_, and _playing up the feature_ consists in telling the most
+interesting thing in the first line of the lead or in the headline. An
+entire story is said to be _played up_ if it is given a prominent place
+in the paper. A _feature story_ is either a story that is thus played
+up or a story that is written for some other reason than news value,
+such as human interest. When a story is rewritten to give a new interest
+to old facts it is called a _rewrite story_; when it is rewritten to
+include new facts or developments, it is called a _follow-up_,
+_second-day_, or _follow story_.
+
+Because of the close relation between the editorial room and the
+printing office many printing terms are commonly heard about the
+editorial room. All copy is measured by the _column_ and by the
+_stickful_. A column is usually a little less than 1,500 words and a
+stickful is the amount of type that can be set in a compositor's
+_stick_, the metal frame used in setting type by hand--about two inches
+or 100 words. A bit of copy that is set up with a border or a row of
+stars about it is said to be _boxed_. Whenever copy is set with extra
+space between the lines it is said to be _leaded_ (pronounced
+"leded")--the name is taken from the piece of lead that is placed
+between the lines of type. The reporter must gradually learn the names
+of the various kinds of type and the various proofreader's signs that
+are used to indicate the way in which the type is to be set, for the
+whole work of writing the news is governed and limited by the mechanical
+possibilities of the printing office. The commonest signs used by the
+proofreader or the copyreader, together with instructions for preparing
+copy, are given in the Style Book at the end of this volume. (A complete
+list of proofreader's signs can be found in the back of any large
+dictionary.) _Style_ is a word which editors use to cover a multitude of
+rules, arbitrary or otherwise, concerning capitalization, punctuation,
+abbreviation, etc. A paper that uses many capital letters is said to
+follow an _up_ style, and a paper that uses small letters instead of
+capitals whenever there is a choice is said to follow a _down_ style.
+Every newspaper has its own style and usually prints its rules in a
+Style Book; the Style Book given in this volume has been compiled from
+many representative newspaper style books. It sets forth an average
+style and the beginner is advised to follow it closely in his practice
+writing--for, as editors say, "uniformity is better than a strict
+following of style."
+
+
+
+
+IV
+
+THE NEWS STORY FORM
+
+
+When we come to the writing of the news we find that there are many
+sorts of stories that must be written. In the newspaper office they are
+called simply stories without distinction. For the purpose of study they
+may be classified to some extent, but this classification must not be
+taken as hard and fast. The commonest kind of story is the simple news
+story. Practically all newspaper reports are news stories, but as
+distinguished from other kinds of reports the simple news story is the
+report of some late event or occurrence. It is usually concerned with
+unexpected news, and is the commonest kind of story in any newspaper. It
+is to be distinguished from reports of speeches, interview stories,
+court reports, social news, dramatic news, sporting news, human-interest
+stories, and all the rest. The distinction is largely one of form and
+does not exist to any great extent in a newspaper office where all
+stories are simply "stories."
+
+The simple news story is probably the most variable part of a newspaper.
+Given the same facts, each individual reporter will write the story in
+his individual way and each editor will change it to suit his individual
+taste. No two newspapers have exactly the same ideal form of news story
+and no newspaper is able to live up to its individual ideal in each
+story.
+
+But there are general tendencies. Certain things are true of all news
+stories; whether the story be the baldest recital of facts or the most
+sensational featuring of an imaginary thrill in a commonplace happening,
+certain characteristics are always present. And these characteristics
+can always be traced to one cause--the effort to catch and hold the
+reader's interest. When a busy American glances over his newspaper while
+he sips his breakfast coffee or while he clings to a strap on the way to
+his office, he reads only the stories that catch his interest--and he
+reads down the column in any one story only so long as his interest is
+maintained. Hence the ideal news story is one which will catch the
+reader's attention by its beginning and hold his interest to the very
+end. This is the principle of all newspaper writing.
+
+The interest depends, in a large measure, on the way the facts are
+presented. True, certain facts are in themselves more interesting to a
+casual reader than others, but just as truly other less interesting
+facts may be made as interesting through the reporter's skill. The most
+interesting of stories may lose its interest if poorly presented, and
+facts of the most commonplace nature may be made attractive enough to
+hold the reader to the last word. The aim of every reporter and of every
+editor is to make every story so attractive and interesting that the
+most casual reader cannot resist reading it.
+
+In the old days news stories were written in the logical order of events
+just like any other narrative, but constant change has brought about a
+new form, as different and individual as any other form of expression.
+Unlike any other imaginable piece of writing, the news story discloses
+its most interesting facts first. It does not lead the reader up to a
+startling bit of news by a tantalizing suspense in an effort to build up
+a surprise for him; it tells its most thrilling content first and trusts
+to his interest to lead him on through the details that should logically
+precede the real news. Therefore every editor admonishes his reporters
+"to give the gist of the news first and the details later."
+
+There are other reasons for this peculiar reversal of the logical order
+of narrative. Few readers have time to read the whole of every story,
+and yet they want to get the news--in the shortest possible time.
+Therefore the newspaper very kindly tells the important part of each
+story at the beginning. Then if the reader cares to hear the details he
+can read the rest of the story; but he gets the news, anyway. Again, if
+the exigencies of making up the stories into a paper of mechanically
+limited space require that a story be cut down, the editor may slash off
+a paragraph or two at the end without depriving the story of its
+interest. Imagine the difficulty of cutting down a story that is told in
+its logical order! If the real news of the story were in the last
+paragraph it would go in the slashing, and what would be left? Whereas,
+if the gist of the story comes first the editor may run any number of
+paragraphs or even the first paragraph alone and still have a complete
+story.
+
+The arrangement of news stories in American newspapers is thus a very
+natural one, resulting from the exigencies of the business. Just how to
+fit every story to this arrangement is a difficult task. However, there
+are certain rules that the reporter may apply to each story, and these
+are very simple.
+
+In the first place, almost every story has a feature--there is some one
+thing in it that is out of the ordinary, something that gives it
+interest and news value beyond the interest in the incident behind it.
+No two stories have the same interesting features; if they had, only
+one of them would be worth printing and that would be the first. This
+extraordinary feature the reporter must see at once. If a building burns
+he must see quickly what incident in the occurrence will be of interest
+to readers who are reading of many fires every day. If John Smith falls
+off a street car the reporter must discover some interesting fact in
+connection with Mr. Smith's misfortune that will be new and attractive
+to readers who do not know John and are bored with accounts of other
+Smiths' accidents. The accident itself may be interesting, but the part
+of the accident that is out of the ordinary--the thing that gives the
+accident news value--is the feature of the story, and the reporter must
+tell it first.
+
+Thoroughly determined to tell the most interesting part, the gist, of
+his story in the first paragraph, the reporter must remember that there
+are certain other things about the incident that the reader wants to
+know just as quickly. There are certain questions which arise in the
+reader's mind when the occurrence is suggested, and these questions must
+be answered as quickly as they are asked. The questions usually take the
+form of _when?_ _where?_ _what?_ _who?_ _how?_ _why?_ If a man falls off
+the street car we are eager to know at once who he was, although we
+probably do not know him, anyway; where it happened; when it happened;
+how he fell; and why he fell. If there is a fire we immediately ask what
+burned; where it was; when it burned; how it burned; and what caused it
+to burn. And the reporter must answer these questions with the same
+breath that tells us that a man fell off the car or that there was any
+fire at all.
+
+The effort to answer these questions at once has led to the peculiar
+form of introduction characteristic of every newspaper story. Newspaper
+people call it the lead. It is really nothing but the statement of the
+briefest possible answers to all these questions in one sentence or one
+short paragraph. It tells the whole story in its baldest aspects and
+aims to satisfy the reader who wants only the gist of the story and does
+not care for the details. When all his questions have been answered in
+one breath he is ready to read the details one at a time, but he won't
+be satisfied if he must read all about how the fire was discovered
+before he is told what building burned, when it burned, etc. For
+example:
+
+             |  Fire of unknown origin caused the     |
+             |practical destruction of the famous old |
+             |"Crow's Nest," at Tenth and Cedar       |
+             |streets, perhaps the best known and     |
+             |oldest landmark in the Second ward,     |
+             |yesterday afternoon.--_Milwaukee Free   |
+             |Press._                                 |
+
+This is the lead of an ordinary news story--a newspaper report of a
+fire. The lead begins with "Fire" because the story has no unusual
+feature--no element in it that is more interesting than the fact that
+there was a fire. The reporter considers "Fire" the most important part
+of his story and begins with it. As soon as we read the word "Fire" we
+ask, "When?"--"Where?"--"What?"--"Why?"--"How?" The reporter answers us
+in the same sentence with his announcement, "yesterday afternoon"--"at
+Tenth and Cedar Streets"--"the famous old 'Crow's Nest,' perhaps the
+best known and oldest landmark in the Second ward"--"unknown origin."
+_How_ is not worth answering, in this case, beyond the statement that
+the destruction was practically complete. Thus the reporter has told us
+his bit of news and answered our most obvious questions about it at the
+very beginning of his story--in one sentence. According to newspaper
+rules this is a good lead. The order of the answers will be considered
+later. For the present we are concerned only with the facts that the
+lead must contain.
+
+
+
+
+V
+
+THE SIMPLE FIRE STORY
+
+
+The simplest news story is the story which has no feature--which has no
+fact in it more important than the incident which it reports--e.g., the
+fire at the end of the last chapter. If we recall the various elements
+of news value we note that any incident may be given greater news value
+by the presence of some unusual or interesting feature--a great loss of
+life, an unusual time, a strikingly large loss of property, or simply a
+well-known name. Such a story is called a story with a feature, because
+its interest depends not so much on the incident itself as upon the
+unusual feature within the incident. On the other hand, many news
+stories do not have features. Many stories are worth printing simply
+because of the incident which they report, without any unusual feature
+within them. For example, a building may burn with no loss of life, no
+great loss of property, and no striking occurrence in connection with
+the burning. Such a fire is worth reporting, but there is no fact in
+the story more interesting than the fact that there was a fire; the
+story has no feature.
+
+The leads of these two kinds of stories are different. When a story has
+a feature it is customary to play up that feature in the first line of
+the lead. If the story has no feature, is simply the record of a
+commonplace event, the lead merely announces the incident and answers
+the reader's questions about it.
+
+The commonest of featureless stories is the simple fire story in which
+nothing out of the ordinary happens, no one is killed, no striking
+rescues take place, and no tremendous amount of property is destroyed.
+This may be taken as typical of all featureless stories. The reporter,
+in writing a report of such a fire, merely answers in the lead the
+questions _when_, _where_, _what_, _why_, and perhaps _how_, that the
+reader asks concerning the fire. The most striking part of the story is
+that there was a fire; hence the story begins with "Fire." For example:
+
+             |  Fire today wrecked the top of the       |
+             |six-story warehouse at 393 to 395         |
+             |Washington street, used by the United     |
+             |States army as a medical supply           |
+             |store-room for the Department of the      |
+             |East. Capt. Edwin Wolf, who is in charge  |
+             |of the warehouse, says the loss on tents, |
+             |blankets, cots, and other bedding stored  |
+             |on the floors of the building was         |
+             |large.--_New York Mail._                  |
+
+As one reads down through the rest of the story he finds nothing more
+striking than the fact that there was a fire. Therefore there is no
+particular feature. No one was killed; no one was injured; the loss was
+not extraordinary for a New York fire--nothing in the story is of
+greater interest than the mere fact that there was a fire. Hence the
+story begins with the word "Fire." Notice that it does not begin "A
+fire" or "The fire"--for the simple reason that the word _fire_ does not
+need an article before it. The editor will also tell you that it is not
+considered good to begin a story with an article, for the beginning is
+the most important part of a story and it is foolish to waste that
+advantageous place on unimportant words.
+
+The first word tells the reader that there has been a fire. He
+immediately asks where?--what burned?--when?--how much was lost? And the
+reporter proceeds to answer his questions in their order of importance.
+The reporter who wrote this story apparently thought that the time was
+of greatest importance and slipped it in at once--"today." He might just
+as well have left the time until the end of the sentence because it is
+not of very great interest. He considers the question "_Where_" of next
+importance, and answers with "the top of the six-story warehouse at 393
+to 395 Washington Street." The question "what?" he answers with a
+clause, "used by the United States army as a medical supply store-room
+for the Department of the East." He does not try to answer the question
+"_why_?" because, as the rest of the story tells us, no one knew exactly
+what caused the fire. And as for the "_How_?" there is nothing
+extraordinary in the way that it burned beyond the fact that it burned.
+Thus, in one sentence, he has answered all four questions about the
+fire, except a little query concerning the amount of the loss. That he
+considers worth a separate sentence of details.
+
+This is not a perfect lead. Many editors would consider it faulty, but
+it illustrates one way of writing the lead of a featureless fire story.
+Obviously there are faults; for instance, the time is given an undue
+amount of emphasis and the cause is omitted.
+
+Suppose that we construct another lead from the same story--a lead which
+would be more in accordance with the logic of newspaper writing. We
+shall begin with the word "fire," but after it we shall slip in a little
+mention of the cause since to the reader not directly acquainted with
+the property that point is always of the greatest importance. Then we
+shall tell where the fire was and after that what was burned. And last
+of all we shall give the time since that is of least importance to the
+average reader. This would be the result:
+
+             |  Fire of unknown origin wrecked the top  |
+             |of the six-story warehouse at 393-395     |
+             |Washington street, used by the United     |
+             |States army as a medical supply           |
+             |store-room for the Department of the      |
+             |East, destroying a large number of tents, |
+             |blankets, cots, and other bedding, today. |
+
+We might as well have put the _what_ before the _where_ or altered the
+lead in any other way. But we would always begin with the word "fire"
+and answer all the questions that the reader might ask--in one short
+simple sentence. This constitutes our lead. We have told the casual
+reader what he wants to know about the fire. We give him more details
+about the fire if he wants to read them, but after we have stated the
+case clearly in the lead we no longer reckon his time so carefully and
+allow ourselves some latitude in the telling. After the lead we begin
+the story from the beginning and tell it in its logical order from start
+to finish, always bearing in mind that the editor may chop off a
+paragraph or two at the end.
+
+Hence the second paragraph of the story as it appeared in _The Mail_
+begins:
+
+             |  John Smith, a man employed in the      |
+             |stock-room on the sixth floor, saw smoke |
+             |rolling out of one corner and notified   |
+             |other employees in the building, while   |
+             |Patrolman Hogan turned in an alarm.      |
+
+We are back at the beginning now and telling things as they came. The
+next paragraph of the story tells us how they fought the fire, and the
+third tells us how they finally brought it under control. The last
+paragraph of the story reads:
+
+             |  There are three such warehouses in the  |
+             |country, one at St. Louis, another at San |
+             |Francisco, but the one in this city is by |
+             |far the largest. In it are kept supplies  |
+             |for the Departments of the East, Gulf,    |
+             |Cuba, Porto Rico, and the Philippines.    |
+
+The editor of _The Mail_ had plenty of space that day and saw fit to run
+this last paragraph, but we should not have lost much had he chopped it
+off. Perhaps the reporter's copy contained still another paragraph
+telling about Captain Wolf, but that did not pass the editorial pencil.
+Even more of the story might have been slashed without depriving us of
+much of the interesting news.
+
+Judging from the above story a newspaper account is divided into two
+separate and independent parts: the lead and the detailed account. The
+lead is written for the casual reader and contains all the necessary
+facts about the fire; it may stand alone and constitute a story in
+itself. The detailed account is written for the reader who wants to hear
+more about the incident, and is written in the logical order of
+events--with an eye to the danger of the editor's pencil threatening the
+last paragraphs. In other words, the reporter tells his story briefly in
+one paragraph and then goes back and tells it all over again in a more
+detailed way. If the story is of sufficient importance the second
+telling may not be sufficient and he may go back a third time to the
+beginning and tell it again with still greater detail--but that is
+another matter. For the present we shall consider only the lead and the
+first detailed account.
+
+There are certain other points to be noticed in the report of a
+featureless fire. Under no condition should it begin with the time. Why?
+Because, unless the time is of extreme interest, no one cares
+particularly when the fire occurred. And if the time is of great
+interest--as, for instance, if a church should burn while the
+congregation is in it--then the time becomes a feature to be played up
+and the story is no longer a featureless story. We are now considering
+stories in which nothing is of greater interest than the mere fact that
+there was a fire.
+
+The same is true of the location. Who cares what street the fire was on
+until he knows more about the fire? If the location were of such
+significant importance as to be played up, the story would no longer be
+a featureless story.
+
+The paragraphing is also important. Since the lead is in itself a
+separate part of the story it should always be paragraphed separately.
+Do not let the beginning of the detailed account lap over into the lead,
+and do not introduce into the first paragraph any facts which are not
+absolutely a part of the lead--that is, facts that are absolutely
+essential to a general knowledge of the fire. When once you begin to
+tell the story in detail tell it logically and paragraph it logically.
+Do not tell us that John Smith discovered the fire and that the loss is
+$500 in the same paragraph. Take up each point separately and treat it
+fully before you leave it--then begin a new paragraph for the next item.
+
+                  *       *       *       *       *
+
+To take a hypothetical case, suppose that misfortune visits the home of
+John H. Jones, who lives at 79 Liberty Street. A defective flue sets his
+house on fire and it burns to the ground. By inquiry we find that the
+house is worth about $4,000 and is fully insured.
+
+There is nothing particularly striking about the story. We are sorry for
+Mr. Jones, but many houses worth $4,000 are set on fire by poor
+chimneys and many more houses burn down. No one was hurt, no one was
+killed; the most striking part of it all is that there was a fire. We
+would begin with the word "Fire." Perhaps our readers would be most
+interested in the cause of the fire and we shall tell them that first.
+Then we shall tell them what burned, when it burned, and where it stood.
+There is nothing else that a casual reader would want to know and the
+lead would read:
+
+             |  Fire starting in a defective chimney    |
+             |destroyed the residence of John H. Jones, |
+             |79 Liberty street, at midnight last       |
+             |night, causing a loss of $4,000, covered  |
+             |by insurance.                             |
+
+Our casual reader is satisfied. For the reader who wishes to know more
+about the fire we add a paragraph or two of detail. First, we may tell
+him who discovered the fire; then how the Jones family managed to
+escape; and after that how the fire was extinguished, and we might slip
+in a paragraph explaining just what trouble in the chimney made a fire
+possible. The editor may chop off any number of paragraphs or cut the
+story down to the lead, and yet our readers will get the facts and know
+just exactly what was the reason for the fire bell and the red sky at
+midnight last night.
+
+
+
+
+VI
+
+THE FEATURE FIRE STORY
+
+
+A fire story without a feature begins with "Fire" because there is
+nothing in the story more interesting than the fact that there has been
+a fire. Such was the case in the burning of John Jones's house in the
+last chapter. But just as soon as any part of the story becomes more
+interesting than the fact that there was a fire, the story is no longer
+featureless--it is a fire story with a feature, or, for the purposes of
+our study, _a feature fire story_. This feature may be related to the
+story in one of two ways. In the first place, the answer to some one of
+the reader's questions may be the feature--e.g., the answer to _when_,
+_where_, _what_, _how_, _why_, _who_. On the other hand, the feature may
+be in some unexpected attendant circumstance that the reader would not
+think of; for instance, loss of life, an interesting rescue, or
+something of that sort. Such a distinction is entirely arbitrary and
+would not be considered in a newspaper office, but it will make the
+matter simpler for the purposes of study.
+
+
+A. FEATURES IN ANSWERS TO READER'S CUSTOMARY QUESTIONS
+
+(_When_, _Where_, _What_, _How_, _Why_, _Who_).
+
+Suppose that John Jones's house did not burn in the usual way--suppose
+that there is some striking incident in the story that makes it
+different from other fire stories. The story has a feature. Perhaps the
+answer to some one of the reader's customary questions is more
+interesting than the answers to the others--so much more interesting
+that it supersedes even the fact that there was a fire. Then it would be
+foolish to begin with the mere word "fire" when we have something more
+interesting to tell. The fire takes a second place and we begin with the
+interesting fact that supersedes it. For the present we shall consider
+that this interesting fact is the answer to one of the questions that
+the reader always asks; for instance, why the house burned or when it
+burned.
+
+
+=1. Why.=--Perhaps Mr. Jones's house was set on fire in a very unusual
+way. There was a little party in session at the Jones's and some one
+decided to take a flash-light picture. The flash-light set fire to a
+lace curtain and before any one could stop it the house was afire. Few
+fires begin in that way, and our readers would be very interested in
+hearing about it. The story has a feature in the answer to the reader's
+_Why?_ And so we would begin our lead in this way:
+
+             |  A flashlight setting fire to a lace    |
+             |curtain started a fire which destroyed   |
+             |the residence of John H. Jones, 79       |
+             |Liberty street, at 11 o'clock last night |
+             |and caused a loss of $4,000.             |
+
+In this way the feature is played up at the beginning of the sentence,
+and yet the rest of the reader's questions are answered in the same
+sentence and he knows a great deal about the fire. Or, leaving Mr. Jones
+to his fate, we may give another example of an unusual cause taken from
+a newspaper. This was a big fire, and yet the unusual cause was of
+greater interest than the fire itself or the amount of property
+destroyed:
+
+             |  A tiny "joss stick," the lighted end of|
+             |which was no larger than a pinhead, is   |
+             |thought to have been responsible for a   |
+             |fire that destroyed the White City       |
+             |Amusement Park at Broad Ripple last      |
+             |night. The loss to the amusement company |
+             |is $161,000.--_Indianapolis News._       |
+
+
+=2. Where.=--To return to Mr. Jones, there may have been some other
+incident in the burning of his house aside from the cause that was of
+exceptional interest. Let us say that his house stood in a part of the
+town where a fire was to be feared. Perhaps it stood within twenty feet
+of the new First Congregational Church. The burning of Jones's house
+would then be insignificant in comparison to the danger to the costly
+edifice beside it, and our readers would be more interested in an item
+concerning their church. The answer to _Where?_ is more interesting than
+the fire itself. Hence we would bury, so to speak, Mr. Jones's
+misfortune behind the greater danger, and the story would read:
+
+             |  Fire endangered the new First          |
+             |Congregational Church on Liberty street, |
+             |erected at a cost of $100,000, when the  |
+             |home of J. H. Jones, in the rear of the  |
+             |church, was destroyed at midnight last   |
+             |night.                                   |
+
+Or:
+
+             |  The First Congregational Church,       |
+             |recently built at a cost of $100,000, was|
+             |seriously threatened by a fire which     |
+             |destroyed the residence of John H. Jones,|
+             |78 Liberty street, within twenty feet of |
+             |the church, at midnight last night.      |
+
+
+Turning again to the daily papers, we can find many fire stories in
+which the location of the burned structure is important enough to take
+the first line of the lead. Here is one:
+
+             |  The Plaza Hotel had a few uncomfortable|
+             |moments last night when flames from a    |
+             |building adjoining at 22 West Fifty-ninth|
+             |street were shooting up as high as the   |
+             |tenth story of the hotel and the fire    |
+             |apparatus which responded to the delayed |
+             |alarm was looking for the blaze several  |
+             |blocks away.--_New York Sun._            |
+
+
+=3. When.=--Sometimes the time of the fire is very interesting. John H.
+Jones's house may have caught fire from a very insignificant thing and
+its location may have been unimportant, but the fire may have come at an
+unusual time. Perhaps Mr. Jones's daughter was being married at a quiet
+home wedding in her father's house and in the midst of the ceremony the
+roof of the house burst into flames. The unusual time would be
+interesting; the answer to _When?_ would be the feature. We might write
+the lead thus:
+
+             |  During the wedding of Miss Mary Jones  |
+             |at the home of her father, John H. Jones,|
+             |78 Liberty street, last night, the house |
+             |suddenly burst into flames and the bridal|
+             |party was compelled to flee into the     |
+             |street.                                  |
+
+Or:
+
+             |  Fire interrupted the wedding of Miss   |
+             |Mary Jones at her father's home, 78      |
+             |Liberty street, last night, when the     |
+             |house caught fire from a defective       |
+             |chimney during the ceremony.             |
+
+The daily papers furnish many illustrations of fires at unusual
+times--here is one:
+
+             |When the snowstorm was at its height     |
+             |early this morning, a three-story brick  |
+             |building at Nos. 4410-18 Third Avenue,   |
+             |Brooklyn, caught fire, and the flames    |
+             |spread rapidly to an adjoining tenement, |
+             |sending a small crowd of shivering       |
+             |tenants into the icy street.--_New York  |
+             |Post._                                   |
+
+
+=4. What.=--(_a_) _The Burned Building._--Many fire stories have their
+feature in the answer to the reader's _What?_ Not infrequently the
+building itself is of great importance. Naturally "The residence of John
+H. Jones" would not make a good beginning, if John Jones is not well
+known, because people would be more interested in reading about a mere
+fire than in reading about the residence of John H. Jones, whom they do
+not know. For it must be remembered that it is the first line that
+catches the reader's eye and the interest or lack of interest in the
+first line determines whether or not the story is to be read. Now,
+suppose that a building that is very well known burns--the City Hall,
+the Albany State House, the Herald Square Theater--the mere mention of
+the building will attract the reader's attention. Therefore the reporter
+begins with the answer to _What?_ the name of the building, as in the
+following cases:
+
+             |  GLENS FALLS, N. Y., Aug. 17.--The      |
+             |Kaatskill House, for many years a popular|
+             |Lake George resort, was completely       |
+             |destroyed by fire this forenoon.--_New   |
+             |York Times._                             |
+
+             |  The First M. E. Church of Chelsea,     |
+             |familiarly known as the Cary avenue      |
+             |church, was damaged last night to the    |
+             |amount of $7,000 by fire.--_Boston       |
+             |Herald._                                 |
+
+
+(_b_) _The Amount of Property Destroyed._--The answer to _What burned?_
+is not necessarily a building, for the building itself may not be worth
+featuring. The contents of the building may be more interesting,
+especially if the amount of property destroyed can be put in striking
+terms, such as $2,000,000 worth of property, or two thousand chickens,
+or fifty-three automobiles, or 7,000 gallons of whisky. These figures
+printed at the beginning of the first paragraph catch the reader's eye,
+thus:
+
+             |  Five automobiles, valued at $5,800, and|
+             |property amounting to $6,200 were        |
+             |destroyed last evening when fire broke in|
+             |the repair shop of the G. W. Browne Motor|
+             |company, 228-232 Wisconsin street, near  |
+             |the North-Western station.--_Milwaukee   |
+             |Sentinel._                               |
+
+
+=5. How.=--Very rarely the manner in which a fire burns is quite unique
+and deserves featuring. It is inconceivable that John Jones's house
+could burn in any very unusual way--"with many explosions," "with a
+glare of flames that aroused the whole city," "with vast clouds of oily
+smoke"--but some fires do burn in some such a way and are interesting
+only for the way they burned. The following story begins with the answer
+to _How?_ although the manner might be described more explicitly:
+
+             |  Stubborn fires have been fought in the |
+             |past, but one of the hardest blazes to   |
+             |conquer that the local department ever   |
+             |contended with gutted the plant of N.    |
+             |Drucker & Co., manufacturers of trunks   |
+             |and valises, at the northwest corner of  |
+             |Ninth and Broadway, last                 |
+             |night.--_Cincinnati Commercial Tribune._ |
+
+
+=6. Who.=--Just as it would be foolish to begin with "the residence of
+John Jones," since the building is not well known, it would not be
+advisable to begin with John Jones's name, no matter what part he
+played. John Jones is not well known and so to the newspaper he is just
+a man and is treated impersonally regardless of what he does or what
+happens to him. Our interest in him is entirely impersonal, and all we
+want to know about him is what he has done or what has happened to him.
+Therefore few reporters would begin a story with John Jones's name.
+However, let some man who is well known do or suffer the slightest thing
+and his name immediately lends interest to the story--and therefore
+commands first place in the introduction. If John D. Rockefeller should
+even witness a fire, or if President Taft should be in the slightest way
+connected with a fire, the mere fire story would shrink into
+significance behind the name. And so, very often it is advisable to
+begin a fire story with a name, if the name is of sufficient prominence.
+It is not necessary that the well-known man's property be destroyed or
+even endangered for his name to have the first place in the first
+sentence of the lead; if the well-known man has anything whatever to do
+with the fire his name should be featured because to the average reader
+the interest in his name overshadows any interest in the fire. In this
+example, the name overshadows a striking loss of property and the story
+begins with the answer to _Who?_
+
+             |  NEW YORK, Nov. 6.--While Clendenin J.  |
+             |Ryan, son of Thomas F. Ryan, the traction|
+             |magnate, and a band of volunteer fire    |
+             |fighters--many of them                   |
+             |millionaires--fought a blaze which       |
+             |started in the garage of young Ryan's    |
+             |country estate near Suffern, N. Y., early|
+             |in the morning, three valuable           |
+             |automobiles, seven thoroughbred horses   |
+             |and several outbuildings were totally    |
+             |destroyed.--_Milwaukee Sentinel._        |
+
+It will be seen that in each of the above feature fire stories some
+incident in the fire, or connected with the fire, overshadows the mere
+fact that there was a fire and makes it advisable to begin the story of
+the fire with the fact or incident of unusual interest. Furthermore, in
+each of these stories the unusual feature in the story is a direct
+answer to one of the reader's questions--_when?_ _where?_ _how?_ _what?_
+_why?_ _who?_ In other words, the reporter in answering these questions,
+as he must in the lead of every story, finds the answer to one question
+so much more interesting than the answer to any of the other questions
+that he puts it first. In every fire story, however, the feature is not
+so easily discovered.
+
+
+B. FEATURES IN UNEXPECTED ATTENDANT CIRCUMSTANCES
+
+There are other things in the day's fire stories, besides the answers to
+the reader's questions, that may overshadow the rest of the story and
+deserve to be featured. Very often there are unexpected attendant
+circumstances occurring simultaneously with the fire or resulting from
+the fire to command our interest. Perhaps a number of people are killed
+or injured; then we want to know about them first, and the reporter
+neglects to answer our questions for the moment while he tells us the
+startling attendant circumstances that we had not expected. Even so,
+while giving first place to the feature, he does not forget our
+questions but answers them in the same sentence. Hence the introduction
+of a fire story with significant attendant circumstances begins with the
+startling fact resulting from the fire and then goes on to answer the
+reader's questions--in the same sentence.
+
+This is not so difficult as it may sound. Suppose that when John Jones's
+house burns there is a stiff breeze blowing and the chances are that all
+the other houses in the block will go with it. All of his neighbors
+become frightened and work with feverish haste to move their household
+goods out into the street. In the end the fire department succeeds in
+confining the fire to Mr. Jones's house and his neighbors promptly carry
+their chattels back indoors thanking the god of good luck. Now the mere
+fact that John Jones's house burned down is rather insignificant beside
+the fact that a dozen families were driven from their homes by the fire.
+Therefore the reporter would begin thus:
+
+             |  Twelve families were driven from their |
+             |homes by a fire which destroyed the      |
+             |residence of John H. Jones, 78 Liberty   |
+             |street, at 11 o'clock last night. The    |
+             |fire was at length kept from spreading   |
+             |and the neighboring residences were      |
+             |reoccupied.                              |
+
+Or to take an incident from the daily press in which the neighbors were
+not so fortunate; although they might have entirely lost their homes:
+
+             |  Twenty-two families in the six-story   |
+             |tenement at 147 Orchard street were      |
+             |routed out of the house twice early today|
+             |by fires which caused a great deal of    |
+             |smoke, but little real damage.--_New York|
+             |Mail._                                   |
+
+
+=1. Death.=--(a) _Number of Dead._--The most usual attendant
+circumstances that will come to our notice is death in the fire. Let us
+say that Mr. Jones's three children were alone in the house and burned
+to death. Their death would be of more interest to us than the burning
+of their father's house--and our story would necessarily begin in this
+way:
+
+             |  Three children were burned to death in |
+             |a fire which destroyed the home of their |
+             |father, John H. Jones, 78 Liberty street,|
+             |last night.                              |
+
+So common is death in connection with fire that almost every day's paper
+contains one or more stories beginning "Ten persons were cremated----"
+or "Four firemen were killed----" And in every case the loss of human
+life is considered of greater importance than any other incident in the
+story, and the number of dead always takes precedence over many another
+startling feature. Here are a few examples:
+
+             |  JOHNSTOWN, Pa., Jan. 18.--Seven men    |
+             |were cremated in a fire that burned to   |
+             |the ground three double houses near      |
+             |Berlin, Somerset County, early this      |
+             |morning.--_New York Sun._                |
+
+             |  Three children of Mr. and Mrs. Bernard |
+             |Lindberg, 3328 Nineteenth avenue south,  |
+             |were cremated in a fire which destroyed  |
+             |their home shortly after 12 o'clock      |
+             |yesterday. The children had been left    |
+             |alone in the house, shut up in their     |
+             |bedroom, etc.--_St. Paul Pioneer Press._ |
+
+             |  One fireman was killed, another fireman|
+             |and a woman were injured and eight people|
+             |escaped death by a narrow margin Saturday|
+             |night in a fire which destroyed the,     |
+             |etc.--_Milwaukee Sentinel._              |
+
+             |  NEW YORK, March 27.--One hundred and   |
+             |forty-one persons are dead as a result   |
+             |of the fire which on Saturday afternoon  |
+             |swept the three upper floors of the      |
+             |factory loft building at the northwest   |
+             |corner of Washington place and Greene    |
+             |street. More than three-quarters of this |
+             |number are women and girls, who were     |
+             |employed in the Triangle Shirt Waist     |
+             |factory, where the fire                  |
+             |originated.--_Boston Transcript._        |
+
+(b) _List of Dead._--When the number of dead or injured reaches any very
+significant figure it is customary to make a table of dead and injured.
+This table is usually set into the story close after the lead, but very
+often the list is put in a "box" and slipped in above the story. In
+writing the story, however, the reporter disregards the table and begins
+his lead as if there were no table: e.g., "Twelve firemen were killed
+and fourteen injured in a fire----" The list usually gives the name,
+address (or some other identification), and the nature of the injury,
+thus:
+
+             |            =Injured Firemen:=           |
+             |                                         |
+             |Capt. Frank Makal, Engine Co. No. 4,     |
+             |cut by glass.                            |
+             |                                         |
+             |Acting Captain W. E. Brown, fire boat    |
+             |No. 23, cut by glass.                    |
+             |                                         |
+             |Peter Ryan, No. 15, flying               |
+             |glass.--_Milwaukee Free Press._          |
+
+Or:
+
+             |              =The Dead:=                |
+             |                                         |
+             |Mrs. Charles Smith, 14 W. Gorham         |
+             |street.                                  |
+             |                                         |
+             |John Johnson, 1193 Chatham street.       |
+             |                                         |
+             |            =The Injured:=               |
+             |                                         |
+             |Thomas Green, 1111 Grand street; face    |
+             |cut by flying glass.                     |
+             |                                         |
+             |James Brown, 176 Orchard avenue;         |
+             |internal injuries; may die.              |
+
+(c) _Manner of Death._--A number of fatalities at the beginning always
+attracts attention. Not infrequently the manner or the cause, especially
+in the case of a single death, is worth the first place in the lead--not
+as "One man killed----" but as "Crushed beneath a falling wall, a man
+was killed." If a man burns to death in a very unusual way, or for an
+unusual reason, we are more interested in the way he was burned, or the
+reason that he burned, than in the mere fact that he was burned to
+death. The first line then tells us how or why he was burned. Thus:
+
+             |  To save his money, which he hoped would|
+             |some day raise him from the rank of a    |
+             |laborer to that of a prosperous merchant,|
+             |Hing Lee, a Chinese laundryman, ran back |
+             |into his burning laundry at 3031 Nicollet|
+             |avenue today, after he was once safe from|
+             |the flames, and was so badly burned that |
+             |physicians say he cannot                 |
+             |live.--_Minneapolis Journal._            |
+
+
+=2. Injuries.=--Very often no one is killed in a fire but some one is
+injured. For example, five firemen are overcome by ammonia fumes or two
+men are seriously injured by a falling wall. This then becomes the
+feature. Injuries to human beings, if serious or in any considerable
+number, take precedence over other features, just as loss of human life
+does. Here is an example from the press in which all the injuries are
+gathered together at the beginning:
+
+             |  Six firemen and two laborers were      |
+             |overcome by smoke, while three other     |
+             |firemen received minor injuries by flying|
+             |glass in a fire which broke out yesterday|
+             |morning at 10:30 o'clock in the          |
+             |Wellauer-Hoffman building, at,           |
+             |etc.--_Milwaukee Free Press._            |
+
+
+=3. Rescues.=--(a) _Number of People Rescued._--When people are rescued
+from great danger in a fire their escape makes a very good feature. If
+many of them are rescued or escape very narrowly, the mere number of
+people saved deserves the first place, as:
+
+             |  More than 150 men and women were saved |
+             |from death today in a fire at 213-217    |
+             |Grand street by toboganning from the roof|
+             |of the burning structure on a board chute|
+             |to the roof of an adjoining five-story   |
+             |building.--_New York Mail._              |
+
+(b) _Manner of Rescue._--But more often the manner of their escape
+interests us most. If a man slides down a rope for four stories to
+escape death by fire we are more interested in how he saved himself than
+in the fact that he didn't burn, and so we tell how he escaped, in the
+first line. In the same way, if unusual means are used to save one or
+more persons, the means of rescue is usually worth featuring. For
+example:
+
+             |  Overcoats used as life nets saved the  |
+             |lives of a dozen women and children in a |
+             |fire of incendiary origin in the         |
+             |three-story frame tenement house at 137  |
+             |Havemeyer avenue, Brooklyn, to-day,      |
+             |etc.--_New York Mail._                   |
+
+
+=4. Property Threatened.=--Death and injury are the commonest unexpected
+circumstances in fire stories, but they are not the only ones that may
+be worth featuring. There is an inconceivable number of things that may
+happen at a fire and overshadow all interest in the fire itself. A good
+feature may be found in the property that is threatened. Often the fire
+in itself is insignificant, but because of a high wind or other
+circumstances it threatens to spread to neighboring buildings or to
+devastate a large area. In such a case the amount of property threatened
+or endangered deserves a place in the very first line, especially if it
+exceeds the amount of property actually destroyed and if it can be put
+in a striking way; _i. e._, the entire waterfront district, or
+twenty-five dwelling houses, or $5,000,000 worth of property. When
+contrasted with the small amount of damage actually done, the amount
+that is threatened becomes more important. Thus:
+
+             |  Fire that for a time threatened        |
+             |$2,000,000 worth of property destroyed   |
+             |$15,000 worth of lumber owned by the     |
+             |Milwaukee Lumber Company, 725 Clinton    |
+             |street, yesterday....                    |
+             |                                         |
+             |The territory between Mitchell street    |
+             |and the Kinnickinnic river and Reed      |
+             |street, to the lake, containing          |
+             |manufactories, dwellings and stores, was |
+             |menaced.--_Milwaukee News._              |
+
+
+=5. Fire Fighting.=--Not unusually a serious fire results from the fact
+that it was not checked for some reason or other during its earlier
+stages. Perhaps the whole thing might have been avoided, or, on the
+contrary, a big fire may be extinguished with unexpected ease or unusual
+skill. In rare cases this matter of very efficient or very inefficient
+fire fighting is of sufficient importance to take the first place in the
+lead. For example:
+
+             |  Almost total lack of water pressure is |
+             |blamed for the big loss in a fire started|
+             |by a firebug to-day in the five-story    |
+             |factory building of Lamchick Brothers,   |
+             |manufacturing company, 400-402 South     |
+             |Second street, Williamsburg.--_New York  |
+             |Mail._                                   |
+             |                                         |
+             |  Rotten hose, which burst as fast as it |
+             |was put in use, imperiled the lives of   |
+             |more than a score of firemen to-day at a |
+             |blaze which swept the three-story frame  |
+             |flat house at Third avenue and           |
+             |Sixty-seventh street, Brooklyn, from     |
+             |cellar to roof, etc.--_New York Mail._   |
+
+
+=6. Crowd.=--Not uncommonly in the city a tremendous crowd gathers to
+watch a fire and blocks traffic for hours. In the absence of other
+significant incidents--death, great loss, etc.--the reporter may begin
+his story with an account of the crowd present or the blockade of
+traffic. Such a beginning should always be used only as a last resort
+when a fire has no other interesting phase, for crowds always gather at
+fires and only a very serious blocking of traffic is worth reporting.
+Thus:
+
+             |  Fully 15,000 persons were attracted to |
+             |the scene of the fire in the portion of  |
+             |the plant of the Greenwald Packing       |
+             |Company, Claremont Stock Yards, which was|
+             |discovered at 4:56 yesterday             |
+             |afternoon.--_Baltimore American._        |
+             |                                         |
+             |  Twenty-five thousand people jammed     |
+             |Broadway between Bleecker and Bond       |
+             |streets yesterday noon and had the       |
+             |excitement of watching 250 girls escape  |
+             |from a twelve-story loft building which  |
+             |was afire.--_New York Sun._              |
+
+
+=7. Miscellaneous.=--There is an infinite number of things that may
+happen at a fire and overshadow the mere fire interest. These are the
+things that make one fire different from another, and whenever they are
+of sufficient importance they become the feature to be played up in the
+first line of the introduction. It would be impossible to enumerate all
+the unexpected things that might happen during a fire. It is this
+element of unexpected possibilities that makes the reporting of fires
+interesting, and an alert reporter is ever on the lookout for a new and
+unusual development in the fire to be used as the feature of his story.
+Here are the leads of a few fire stories clipped from the daily
+newspapers:
+
+             |  With her home on fire and the smoke    |
+             |swirling around her head, Mrs. B. B.     |
+             |Blank, a well-known leader of the        |
+             |social set of Roland Park, bravely       |
+             |stood by her telephone and called upon   |
+             |the Roland Park Fire Company for aid     |
+             |shortly after 8 o'clock this             |
+             |morning.--_Baltimore Star._              |
+             |                                         |
+             |  Four charming young women attired in   |
+             |masculine apparel were the unexpected    |
+             |and embarrassed hosts of four companies  |
+             |of fire department "laddies" last night, |
+             |when fire broke out, etc.--_Milwaukee    |
+             |Free Press._                             |
+             |                                         |
+             |  For the first time since its           |
+             |installation the high-pressure water     |
+             |power system was relied upon solely last |
+             |night to fight a Broadway fire, and      |
+             |Chief Croker said that he was well       |
+             |satisfied with its work. The fire began  |
+             |on the third floor of the six-story,     |
+             |etc.--_New York Times._                  |
+
+
+C. FIRE STORIES WITH MORE THAN ONE FEATURE
+
+It would appear from the foregoing examples that almost every fire story
+has a feature. And so it usually has. The great majority of fires that
+are worth reporting at all have some unusual incident connected with
+them that overshadows the mere fire itself. Sometimes the features are
+not of great significance, but it is only as a last resort that a
+reporter begins his story with "Fire"--only when the most ordinary of
+fires is to be covered.
+
+Unusual features are so common in connection with fires that very often
+a single fire has more than one unusual feature. Perhaps the cause of
+the fire is exceptionally striking and at the same time the amount of
+property destroyed is of great news value in itself. Or the time and
+some unexpected attendant circumstance are both worth the first place.
+In that case the reporter has to choose between the two features and
+begin with the one that seems to him to be the more striking. The other
+feature or features may often be arranged in the order of importance
+immediately after the most striking fact at the beginning, provided that
+this does not make the lead unduly complicated.
+
+For instance, a cold storage warehouse burns and four firemen are
+overcome by the fumes from the ammonia pipes. Next door is a hospital
+and the flames frighten the patients almost into a panic. Either one of
+these incidents is worth the first line of the story. But which one is
+of the greater importance? Naturally the element of danger to human life
+must be considered first and the actual disabling of four firemen is of
+greater significance than a possible panic in the hospital. Following
+that line of logic our story would begin:
+
+             |  Four firemen were overcome by ammonia  |
+             |fumes and a panic in the St. Charles     |
+             |Hospital was narrowly averted, as a      |
+             |result of a fire which destroyed the cold|
+             |storage warehouse of, etc.               |
+
+Such a lead would not be too complicated for practical purposes. But
+suppose that around the corner from the cold storage warehouse is a
+livery in which fifty horses are stabled. The flames frighten the horses
+and they break loose and stampede in the streets. The story now has
+three features of striking interest. It would be possible to combine
+them all in the lead and to begin in this way:
+
+             |  Four firemen were overcome by ammonia  |
+             |fumes, a panic was narrowly averted in   |
+             |the St. Charles Hospital, and fifty      |
+             |frightened horses stampeded in the       |
+             |streets as a result of a fire, etc.      |
+
+But see how far from the beginning the fire, the actual cause of it all,
+is placed. The fire is buried behind a mass of details and the reader is
+confused. The lead is not a happy one. The only thing to do is to break
+up the mass of details and put part of them immediately after the lead.
+The arrangement is a matter that must be left to the judgment of the
+reporter.
+
+This, however, is an extreme case because the various features are so
+disconnected and separate. The reporter would have little trouble if the
+several features were more alike. For instance, if one of the walls of
+the building had fallen and killed three firemen the case would have
+been simpler. The death of these men so far overshadows the other
+unusual incidents that it drives them out of the lead altogether. For we
+do not care about horses and frightened patients when men are crushed
+beneath falling walls. All that we are concerned with in our lead now is
+the dead and injured--with a feature like this we can trust our readers
+to go into the story far enough to pick up the other interesting
+features; we would begin in this way:
+
+             |  Three firemen were killed by falling   |
+             |walls and four others were overcome by   |
+             |ammonia fumes in a fire which destroyed  |
+             |the cold storage, etc.                   |
+
+The combination of dead and injured makes a good beginning, and it is
+always advisable to begin with such an enumeration whenever it is
+possible. Where the features are not so significant as death and
+injuries the matter of arranging more than one striking detail at the
+beginning of the lead becomes a greater problem. It must be left to
+one's own judgment and common sense. The lead must not be too long or
+complicated, and one must hesitate before burying the really important
+facts of the story behind several lines of more or less unusual details.
+Just as soon as the lead becomes at all confusing take out the details
+and put them into the story later.
+
+
+
+
+VII
+
+FAULTS IN NEWS STORIES
+
+
+Before we go on to the consideration of other kinds of news stories it
+will be well to consider in greater detail the facts we have learned
+from writing up fires. Our fire stories should have taught us a number
+of things about the form of the news story. Let us sum them up.
+
+=Paragraph Length.=--We have seen that newspaper writing has a
+characteristic style of its own. In the first place notice the length of
+a newspaper paragraph. Count the number of words in an average paragraph
+and compare it with the number of words in a literary paragraph. We find
+that the newspaper paragraph is much shorter. There is a reason for
+this. Imagine a 150-word literary paragraph set up in a newspaper. There
+are about seven words to the line in a newspaper column and one hundred
+and fifty words would make something over twenty lines. Try to picture a
+newspaper made up of twenty-line paragraphs; it would be extremely
+difficult to read. We glance over a newspaper hastily and our haste
+requires many breaks to help us in gathering the facts. Hence the
+paragraphs must be short; the very narrowness of the newspaper column
+causes them to be shortened. The average lead, you will find, contains
+less than fifty words and the paragraphs following it are not much
+longer.
+
+=Sentence Length.=--Notice sentence lengths as compared with literary
+sentences. You will find that newspaper sentences usually fall into two
+classes: the sentences in the lead and the sentences in the body of the
+story. The first sentence is usually rather long--thirty to sixty words.
+But the sentences in the body of the story are much shorter than most
+literary sentences. Why is this? It results from exactly the same thing
+that makes the newspaper paragraphs short--the need of many breaks.
+Thus, after we finish a lead, we must fall into short sentences. They
+need not be choppy sentences, but they must be simple and easy to read.
+
+
+THE LEAD AND THE BODY OF THE STORY
+
+Our study of the fire story has shown that newspaper stories always have
+two separate and distinct parts: the lead and the body of the story. In
+writing the story a reporter must consider each part separately,
+although the reader does not distinguish between the two parts. Before
+writing a word the reporter must decide exactly what facts and details
+he is to put in the lead and exactly what fact he is going to play up in
+the first line, taking care to begin with the most interesting part of
+the story. After the lead is finished he writes the main body of the
+story in accordance with the rules of ordinary English composition. Each
+part must be separate and independent of the other.
+
+=The Lead.=--The lead itself is always paragraphed separately. Usually
+it consists of a single sentence, although it is much better to break it
+into two than to make the sentence too long and complicated. As we have
+said before, the lead must not only tell the most interesting fact or
+incident in the story, but it must answer the natural questions that the
+reader immediately asks about this matter; i.e., when, where, what, why,
+who, and how. These questions must be answered briefly and concisely in
+their order of importance, and the most unusual answer or the most
+striking part of the story must precede all the rest. Beyond the answers
+to these questions there is no space for details in the lead. Every word
+must have a purpose and a necessary purpose or it must be cut out and
+relegated to the body of the story. No space should be given to
+explanations of minor importance. State the content of the news story
+as completely, accurately, and concisely as possible so that the reader
+may know just what happened, when it happened, where, to whom, and
+perhaps how and why it happened. Then begin a new paragraph and start
+the body of the story.
+
+Many editors require that the lead consist of one long sentence and yet
+it must be grammatical. Many reporters forget all about English grammar
+in their attempt to crowd everything they know into one sentence. But
+mere quantity does not make the lead good; it must be grammatical and
+easy to read. The verb must have a grammatical subject and, if it is an
+_active_ verb, it must have a grammatical predicate. Clauses and
+modifiers must be attached in a way that cannot be overlooked. Dangling
+participles and absolute constructions should be shunned. All of the
+modifying clauses must be gathered together either before or after the
+principal clause. Everything must be compact and logical. Many papers
+disregard this matter, as will be seen in some of the extracts quoted in
+this book, but the best papers do not.
+
+Every lead should be so constructed that it may stand alone and be
+self-sufficient. Never should a reporter trust to headlines to enlighten
+his readers upon the meaning of the lead--the exact reverse of this
+must be true. The story is written first and the headlines are written
+from the facts contained in the lead--and usually by another man. In
+writing the lead disregard the existence of headlines, for many readers
+do not read them at all. This is but an amplification of the old rule of
+composition that any piece of writing should be independent of its
+title. The title may be lost, but the essay must be clear without it.
+
+There are many ways of beginning a lead in order to embody the feature
+in the first line. At first glance the operation of putting the emphasis
+of a sentence at the beginning, rather than at the end, may seem
+difficult, but with a clear idea of the rules of dependence in English
+grammar a reporter may transpose any clause to the beginning and thus
+play up the content of the clause. For instance, in this lead,
+
+             |  Fire, starting in a moving picture     |
+             |theatre, 4418 Third avenue, drove the    |
+             |tenants of the building out into the icy |
+             |street while the snowstorm was at its    |
+             |height shortly before 12 o'clock last    |
+             |night.                                   |
+
+the striking feature of the story is buried--we do not get the unusual
+picture of a little group of people shivering in the street during a
+blinding snowstorm while they watch their homes burn. A simple
+transposition of the _while_-clause puts the feature in the first line.
+Thus:
+
+             |  While the snowstorm was at its height  |
+             |shortly before 12 o'clock last night,    |
+             |fire, starting in a moving picture       |
+             |theatre, 4418 Third avenue, drove the    |
+             |tenants of the building out into the icy |
+             |street.                                  |
+
+The lead is not perfect now; it might be greatly improved, but it is
+better than before.
+
+A few of the possible beginnings for a lead are:
+
+1. _Noun._--The simplest beginning of a lead is of course the use of a
+noun as subject of the principal verb. For example, "Fire destroyed the
+residence of----" or "A flashlight setting fire to a lace curtain
+started a fire----" or "The Plaza Hotel had a few uncomfortable moments
+last night----" etc. The subject of the verb may of course have its
+modifiers--adjectives and phrases--but it should not be separated too
+widely from its verb. One point is to be noted in the use of a simple
+noun at the beginning; an article should not precede the noun if it can
+be avoided, for the very simple reason that an article is not worth the
+important space that it takes at the beginning of the lead. In the case
+of fire no article is necessary. In other cases it is usually possible
+to put in an adjective or some other word that will take the article's
+place. However, never begin a story like this: "Supreme Court of the
+United States decided----" or "Young man in evening dress was arrested
+last night----" or "House of John Smith was destroyed yesterday----".
+Obviously something is lacking and, if no other word will supply the
+lack, use the article, _the_ or _a_. When the _noun_-beginning is used
+the reporter must never forget that two or more nouns, however
+different, if subject of the same verb, require a plural verb. The verb
+may be active or passive, whichever is more convenient, but rarely is
+the object of an active verb put first--simply because English cannot
+bear this transposition of subject and predicate.
+
+2. _Infinitive._--Other parts of speech aside from nouns may be subjects
+of verbs and so other parts of speech as subjects of the principal verb
+of the lead may be placed at the beginning of the lead. An infinitive
+with its object and modifier may occupy the first line as subject of the
+main verb; e.g.:
+
+             |  To rescue his own son during the       |
+             |burning of his own house was a part of   |
+             |yesterday's work for Fireman Michael     |
+             |Casey, who, etc.                         |
+
+Here the infinitive "to rescue" and its object are the subject of the
+verb "was," and the construction is perfectly grammatical.
+Unfortunately the English language has another infinitive which very
+much resembles a present participle--the infinitive ending in _-ing_;
+e.g., _rescuing_. Without an article this part of speech must, of
+course, be used only as an adjective, but with an article it becomes an
+infinitive, to be treated as a noun; e.g., _the rescuing of_. It would
+be perfectly grammatical to begin the above lead in this way: "The
+rescuing of his own son ... was the work, etc." But it would be
+ungrammatical to begin it thus: "Rescuing his own son was the work,
+etc." For in the second case the word "rescuing," if used with an
+object, is not an infinitive but a participle, and must be used only as
+an adjective, thus: "Rescuing his own son, Fireman Casey performed his
+duty, etc.," or "In rescuing his own son, Fireman Casey performed his
+duty." The two uses should never be confused.
+
+3. _Clause._--Another expression that may be used as subject of the
+lead's principal verb is a clause--usually a _that_-clause. For
+instance, "That the entire wholesale district was not destroyed by fire
+last night is due to, etc." Here the _that_-clause is subject of the
+verb is and the expression is entirely grammatical as well as very
+useful as a beginning.
+
+4. _Prepositional Phrase._--When the feature of a story is an action
+rather than a thing, a noun can hardly be used to express it. Very
+often this lead may be handled by means of a prepositional phrase at the
+beginning. For example, one of the stories in the last chapter begins:
+"With her home on fire and with smoke swirling around her head, Mrs.
+John, etc." In this case the prepositional phrase modifies the subject
+and should not be far from it. Another variation of this is the
+prepositional phrase of time, modifying the verb; e.g., "During the
+wedding of Miss Mary Jones, last night, the house suddenly caught fire,
+etc." This beginning is effective if it is not overworked, but the
+reader should never be held back from the real facts of the story by a
+string of complicated phrases, intended to build up suspense.
+
+5. _Participial Phrase._--Very much like the prepositional phrase
+beginning is the participial beginning. "Sliding down an eighty-foot
+extension ladder with a woman in his arms, Fireman John Casey rescued,
+etc." It must be borne in mind that the participial phrase must modify a
+noun and there should be no doubt in the reader's mind as to the noun
+that it modifies. It would of course be absurd to say "Sliding down an
+eighty-foot extension ladder, fire seriously burned John Casey----," but
+such things are often said. Never should this participial phrase be used
+as the subject of a verb, as "Returning home and finding her house in
+ashes was the unusual experience of Mrs. James, etc." The phrase must
+always modify a noun just like an adjective.
+
+6. _Temporal Clause._--A feature may often be brought to the beginning
+of the lead by a simple transposition of clauses. Should the time be
+important a subordinate _when_ or _while_ clause may precede the
+principal clause of the sentence; i.e., "When the snowstorm was at its
+height early this morning, a three-story brick building burned, etc.,"
+or "While 15,000 people watched from the street below, 250 girls escaped
+from the burning building at, etc."
+
+7. _Causal Clause._--Should the cause of an action or an occurrence be
+attractive enough for the first line, a _for_ or a _because_ clause may
+begin the lead. "Because a tinsmith upset a pot of molten solder on the
+roof of pier No. 19, two steamers were burned, etc."
+
+                  *       *       *       *       *
+
+This does not exhaust the list of possible beginnings. There are a dozen
+possible constructions for the beginning of any story; these are merely
+the commonest ones. Anything unusual or of doubtful grammar should be
+avoided because of the many possible alternatives that present
+themselves. And in every lead correct grammar should be considered
+above all else. If a lead is ungrammatical no clever arrangement of
+details can make it effective or other than ludicrous. For instance,
+this lead, taken from a newspaper, illustrates an unfortunate attempt to
+crowd too many details into a short lead:
+
+             |  Bitten by a rattlesnake, Myrtle Olson's|
+             |leg was slashed with a table knife,      |
+             |washed the wound with kerosene, then     |
+             |covered the incision with salt by her    |
+             |mother. Myrtle still lives.              |
+
+Another paper tried to arrange it more happily, thus:
+
+             |  Bitten by a rattlesnake, Myrtle Olson's|
+             |mother slashed her daughter's leg with a |
+             |table knife, washed the wound with       |
+             |kerosene, then covered the incision with |
+             |salt. Myrtle still lives.                |
+
+There is evidently something wrong in this. It would be a good exercise
+to try to express the idea grammatically.
+
+                  *       *       *       *       *
+
+Before we go on to the consideration of the body of this story a few
+_Don'ts_ in regard to writing leads may be in order.
+
+Don't begin a lead with a person's name unless the person is well known.
+We are always interested in anything unusual that a man may do or
+anything unusual that he may suffer, but unless we know the man we are
+not at all interested in his name. Suppose that a man performs some
+thrilling act or suffers some unusual misfortune in a city of 100,000
+people. Probably not more than one hundred people know him, and of that
+number only one or two will read the story. Then why begin with his name
+when his action is of greater interest to all but a few of our readers?
+And yet every reader wants to know whether the victim is one of his
+friends. Therefore the man's name must be mentioned in the lead,
+although it should not come at the beginning. On the other hand, if the
+man is prominent in the nation or the community and well known to all
+our readers, his name adds interest to the story and we begin with the
+name. There is a growing tendency among American newspapers to begin all
+of their stories with a name. The tendency appears to be the result of
+an attempt to break away from the conventional lead and to begin in a
+more natural way--also an easier way. But the name beginning is after
+all illogical, and any reporter is safe in following the logical course
+in the matter. If the name is not important begin with something that is
+important.
+
+Don't waste the main verb of the sentence on a minor action while
+expressing the principal action in a subordinate clause. This is a
+violation of emphasis. For example, "Fatally burned by an explosion in
+his laundry, Hing Lee was taken to the hospital." Naturally he would be
+taken to the hospital, but why put the emphasis of the whole sentence on
+that point?
+
+Don't resort to the expression "was the unusual experience of----" "was
+the fate of----" or any like them. Every word in the lead must count,
+and here are five words that say nothing at all. Use their place to tell
+what the unusual experience was. For instance, don't say "To stand in a
+driving snowstorm and watch their homes burn to the ground was the
+unusual experience of two families, living at, etc."; say instead,
+"Standing in a driving snowstorm two families watched their homes burn
+to the ground." The latter says the same thing more effectively in less
+space. The use of this expression--"was the unusual experience of"--is
+always the mark of a green reporter.
+
+Don't overwork the expression "Fire broke out." All fires "break out,"
+but usually we are more interested in the result of the fire than in its
+"breaking out." Try to use some expression that will give more definite
+information.
+
+Don't be wordy. Editors are always calling for shorter and more concise
+leads. If you can say a thing in two words don't use half a dozen. For
+example, "Four members of the local fire department were rendered
+unconscious by the deadly fumes from bursting ammonia pipes." This takes
+three times as much space as "Four firemen were overcome by ammonia
+fumes," and it does not express the idea any more effectively.
+
+Don't introduce minor details into the lead. If the reader wants the
+details he may read the rest of the story. Take the following lead as an
+example:
+
+             |  Rushing back into his burning laundry, |
+             |a one-story brick building, to rescue    |
+             |from the flames his savings, amounting to|
+             |$437, with which he hoped to raise       |
+             |himself from the rank of laborer to that |
+             |of a prosperous merchant, and which was  |
+             |hidden under the mattress of his bed in  |
+             |the back room of the laundry, Hing Lee, a|
+             |Chinaman, who lives at 79 Nicollett      |
+             |avenue and has been in this country but  |
+             |three months, was overcome by smoke and  |
+             |so seriously burned that he had to be    |
+             |removed to the St. Mary Hospital and may |
+             |not live, when his establishment was     |
+             |destroyed by a fire which, starting from |
+             |the explosion of the tank of the gasolene|
+             |stove on which he was cooking his dinner,|
+             |gutted his laundry, entailing a loss of  |
+             |$1,000, shortly before noon to-day.      |
+
+It is entirely grammatical, but if the reader succeeds in wading through
+it there is nothing left to tell about the fire. Why not begin the
+story in this way and leave something for the rest of the story?
+
+             |  Because he rushed back into his burning|
+             |laundry to rescue his savings, Hing Lee, |
+             |a Chinese laundryman, 79 Nicollett       |
+             |avenue, was seriously burned to-day.     |
+
+Don't waste the first line of the lead on meaningless generalities. Get
+down to the facts at once. For instance, "The presence of mind and
+bravery of Fireman David Mullen saved Mrs. Daniel Looker from being
+burned to death in her flat, etc." We are willing to grant his bravery
+and presence of mind, but we want to know at once what he did: "By
+sliding down an eighty-foot extension ladder through flames and smoke
+with an unconscious woman in his arms, Fireman David Mullen rescued Mrs.
+Daniel, etc." Equally useless is the beginning, "A daring rescue of an
+unconscious woman from the fourth story of a blazing flat building was
+made by Fireman David Mullen to-day, etc." Tell what the daring rescue
+was and let the reader manufacture a fitting eulogy.
+
+Don't exaggerate the facts to make a feature. When a few persons are
+frightened don't turn it into a dreadful panic. Every little fire is not
+a holocaust and the burning of a small barn does not endanger the
+entire city, unless your imagination is strong enough to guess what
+might have happened had there been a high wind and no fire engines. A
+narrow escape from death does not always excuse the beginning, "Scores
+killed and injured would have been the result, _if_----" All beginnings
+of this kind give a false impression and do not tell the truth. If a
+story has no striking feature be satisfied to tell the truth about it
+without trying to make a world-wide disaster out of it for the sake of a
+place on the front page. Exaggeration for a feature is one of the bad
+elements of sensational journalism. For example, seven lives were lost
+in this fire, but this is the way the story was written, for the sake of
+a three-column scare-head:
+
+             |  That 500 sleeping babes and 100 more   |
+             |who were kneeling in prayer in St.       |
+             |Malachi's Home, a Roman Catholic         |
+             |institution for the care of orphans at   |
+             |Rockaway Park, are alive to-day is due to|
+             |the coolness of the nuns in charge and   |
+             |the children's remembrance of their      |
+             |teacher's fire drills.                   |
+
+The suspense is built up in such a way that at the end of the lead we do
+not know what happened and read on with breathless interest to find that
+there was a small fire at the Home and seven children were burned.
+
+
+=The Body of the Story.=--"A good beginning is half done," according to
+the proverb. In writing a news story a good beginning is more than half
+done--two-thirds at least. The lead is the beginning, and when that has
+been written we are ready to go on to the body of the story with a clear
+conscience.
+
+Our lead has told the reader the main facts of the case and the most
+unusual feature. If he reads further he is looking for details. In
+giving him these we return to the ordinary rules of narration. We start
+at the very beginning of the story and tell it logically and in detail
+to the end. We tell it as if no lead preceded it and repeat in greater
+detail the incidents briefly outlined in the lead. Never should the body
+of the story depend upon the lead for clearness. If the feature of the
+story is a rescue and you have briefly described the rescue in the lead,
+ignore the lead and describe the rescue all over again in the body of
+the story in its proper place. The number of details that are to be
+introduced into the story is limited only by the space that the story
+seems to be worth. But no point should be mentioned in the story unless
+space permits of its being made clear.
+
+The ordinary rules of English composition apply to the writing of the
+body of the story. The copy must be paragraphed, cut up into paragraphs
+that are rather shorter than ordinary literary paragraphs, since the
+narrowness of the newspaper column makes the paragraph seem longer.
+Heterogeneous details must not be piled together in the same paragraph,
+but the facts must be grouped and handled logically. No paragraph should
+be noticeably longer than the others, and it is decidedly bad to
+paragraph one sentence alone simply because it does not seem to go in
+with any other sentence. If the fact is important expand it into a
+paragraph by the introduction of further details; if it is unimportant
+either cut it out of the story altogether or attach it to the paragraph
+to which it seems most logically to belong.
+
+One fact, already stated, must be borne in mind as the body of the story
+progresses. The report should be built up in such a way that the editor
+can slash off a paragraph or two at the end without injuring the
+story--without sacrificing any important facts. To do this the reporter
+should bring the important parts of the story as near the beginning as
+the logical order will permit. The interest of a perfect news story is
+like an inverted cone. The interest is abundant at the beginning and
+gradually dwindles out until there is nothing more to say when the end
+is reached. Just how far the dwindling should be carried depends upon
+the amount of space that the story seems to be worth in the paper.
+
+This may seem difficult. It may be hard to see how a story can be told
+in its logical order while at the same time the most interesting facts
+are placed at the beginning, even if they logically belong near the end.
+For example, we may take the story of an unusual robbery. A well-dressed
+man goes into a grocery store to get some butter and tries to rob the
+grocer. In the ensuing scuffle the would-be robber escapes. A young
+woman who happens to be passing sees the end of the fight and pursues
+the robber down the street until he runs into a saloon. She calls a
+policeman who is standing on the corner and the officer rushes into the
+saloon, up three flights of stairs and finds the robber on the roof
+behind a chimney. The officer shouts to another policeman, and together
+they arrest the robber.
+
+Now, what is the most interesting thing in the story? Probably the
+pursuit--a young woman chasing a robber down the street. Our lead might
+be written in this way:
+
+             |  After being chased down Sixth street by|
+             |a young woman, a robber, who had         |
+             |attempted to rob the grocery store of    |
+             |Charles Young, 1345 Sixth street, was    |
+             |arrested on the roof of a saloon at 835  |
+             |Sixth street, at 7 o'clock last night.   |
+
+The lead might be arranged in a different way, but these are the facts
+that it would contain. Before we consider the arrangement of the body of
+the story it may be well to go back to the interviews by which we
+secured the story. In getting the facts we would probably talk to Young,
+the groceryman, and to the saloonkeeper into whose establishment the
+robber fled. We could probably interview the policeman who made the
+arrest, but let us suppose that the young woman could not be found. The
+groceryman would tell us about the attempted robbery and the escape,
+with the girl in pursuit. The saloonkeeper would tell us how the man
+fled into his saloon and ran up the stairs to the roof; then how two
+policemen came and made the arrest. The policeman could tell us how a
+young woman ran up to him and told him that a robber had fled into the
+saloon; then he would describe the arrest. None of these stories is told
+just as we want the newspaper story--each one tells us only a part of
+the story. If the finished story were written by a green reporter it
+would probably tell the story in the order in which it was obtained.
+That is if the reporter saw the policeman first, then the saloonkeeper,
+and lastly the groceryman; his story would tell in the first paragraph
+what the policeman said, in the second paragraph what the saloonkeeper
+said, and in the last paragraph what the grocer said. At least that is
+the way in which green reporters in the classroom attempted to write
+the story.
+
+But, obviously, that is not the logical way to tell the story. The
+finished account should be written in the order in which it happened:
+i.e., first the robbery, then the pursuit, and lastly the arrest. This
+would be the ideal way to tell the story--according to the rules of
+English composition--if we could be sure that the entire story would be
+printed. But if it were written in this way and the editor decided to
+slash off the last paragraph, what would go? Obviously the arrest would
+not be printed; and the arrest was quite interesting. We must find some
+way to bring the arrest nearer to the beginning. This may be done by
+selecting the most interesting parts of the story--by picking out the
+high spots, as it were. In this story the high spots are the attempted
+robbery, the pursuit, and the arrest. The details that fill in between
+are interesting, but not so interesting as these high spots. Hence these
+high spots of interest must be pushed forward toward the beginning.
+After the lead the story would begin at the beginning and tell the
+affair briefly by high spots in their proper order. It might be
+something like this:
+
+             |  As Charles Young was closing his       |
+             |grocery last evening a young man came in |
+             |and asked for a pound of butter. Young   |
+             |turned to get it and his customer struck |
+             |him over the head with a chair. The      |
+             |grocer grappled with his assailant and   |
+             |they fell through the front door. In the |
+             |scramble, the robber broke away and ran  |
+             |down Sixth street. A young woman who was |
+             |passing screamed and ran after him until |
+             |he disappeared into a saloon.            |
+             |                                         |
+             |The young woman called Policeman Smith,  |
+             |who was standing nearby on Grand avenue, |
+             |and the latter found the would-be robber |
+             |on the roof of the saloon. After a       |
+             |struggle, Smith arrested the man, with   |
+             |the aid of another policeman.            |
+
+The above account tells us briefly the most interesting parts of the
+story. A copyreader might not find it perfect, for the assault is
+allotted too much space and the pursuit too little, but it tells the
+story in its baldest aspect. This, with the lead, could be run alone.
+However, perhaps the story is worth more space; at any rate, many
+interesting details have been omitted. If so, go back to the most
+interesting part of the story--the assault, perhaps, or the pursuit--and
+tell it with more details. Then retell some other part with more
+details. If your readers are interested enough to read beyond the first
+three paragraphs they want details and will not be so particular about
+the order--for they already know how the story is going to end.
+
+This is one way of meeting the requirements of logical order and
+dwindling interest. This is a particularly hard story to arrange in the
+conventional way since we must have the whole story to be interested in
+any single part--it has too many striking incidents in it. On the other
+hand, a story which contains only one striking incident is much easier
+to handle. Suppose that we are reporting a fire which is interesting
+only for its cause or for a daring rescue in it. Our lead would suggest
+this interesting element and the first part of our story would be
+devoted entirely to the cause or to the rescue, as the case might be.
+But it is better to sketch briefly, immediately after or very close to
+the lead, the entire story, for our readers want to know how it ends
+before they can be interested in any particular part. If we sketch the
+whole story and show them that there is only one important thing in the
+story, they will be satisfied to read about the one striking incident
+without wondering if there is not something more interesting further on.
+If we leave the conclusion of the story to the end of our copy the
+editor may cut it off and leave our story dangling in midair. Every
+story must be treated in its own way, according to its own incidents and
+difficulties; no two stories are alike in substance or treatment. In
+every one our aim must be to keep to the logical order and at the same
+time to put the most interesting parts of the story near the beginning.
+
+The construction of the body of a story may be illustrated more clearly
+by a fatal fire story--since fire stories are more uniform, and hence
+easier to write than other news stories. Let us suppose that the story
+is as follows: At four o'clock in the afternoon a fire started from some
+unknown cause in the basement of a four-story brick building at 383-385
+Sixth Street, occupied by the Incandescent Light Company. Before the
+fire company arrived the flames had spread up through the building and
+into an adjoining three-story brick building at 381 Sixth Street,
+occupied by Isaac Schmidt's second-hand store and home on the first and
+second floors and by Mrs. Sarah Jones's boarding house on the third. The
+Schmidts were away and Mrs. Jones's lodgers escaped via the fire
+escapes. Her cook, Hilda Schultz, was overcome by smoke and had to be
+carried out by Jack Sweeney, a lodger. Mrs. Jones fell from the fire
+escape and was badly bruised. Meanwhile the firemen were at work on the
+roof of the burning four-story building. Blinded by the smoke, one of
+them, John MacBane, stepped through a skylight and fell to the fourth
+floor. His comrades tried to rescue him by lowering Fireman Henry Bond
+into the smoke by the heels; they were unsuccessful and Bond broke his
+arm in the attempt. The fire was confined to the lower floors of the two
+buildings and extinguished. In searching for MacBane, the firemen found
+him suffocated on the fourth floor where he had fallen.
+
+The feature of the story is evidently the one death and the three
+injuries. Our lead might be written as follows:
+
+             |  One fireman was suffocated and three   |
+             |other persons were injured in a fire in  |
+             |the Incandescent Light Company's plant,  |
+             |383-385 Sixth street, and an adjoining   |
+             |three-story building, late yesterday     |
+             |afternoon.                               |
+
+This lead would suggest to the reader many interesting details to come
+in the body of the story, and evidently the details are not all of equal
+importance. The story could be told in its logical order, but, since the
+death is more interesting than the origin of the fire and the injuries
+are more significant than how the fire spread, it is obvious that it
+would not be best to tell the story in the order in which it is told
+above.
+
+Disregarding the lead, we must cover the following details in the body
+of our story:
+
+    Description of buildings and occupants.
+    Origin of fire.
+    Discovery of fire.
+    Spread of flames.
+    Injury of Mrs. Jones.
+    Rescue of Hilda Schultz.
+    Death of MacBane.
+    Injury of Bond.
+    Fire extinguished.
+
+This is the order in which things occurred at the fire. However, in our
+lead, we have drawn attention to our story by announcing that it
+concerns a fire in which a man was killed; the death therefore should
+have first place in the body of the story. Hence, in the second
+paragraph immediately after the lead, we must tell how MacBane fell
+through the skylight and was suffocated. Along with his death we may as
+well tell how Bond broke his arm trying to rescue MacBane. Our lead has
+also announced two other injuries and, hence, they must be included
+next--that is, our third paragraph must be devoted to the injury of Mrs.
+Jones and the rescue of the unconscious Hilda. But as yet our details
+are hanging in the air because we have not said anything about the
+buildings or the fire itself. In the next paragraph it would be well to
+describe the buildings and their occupants and to give a very brief
+account of the course of the fire--perhaps in this way:
+
+             |  Flames were first discovered in the    |
+             |basement of the Incandescent building and|
+             |before the fire department arrived had   |
+             |spread through the lower floors and into |
+             |the adjoining three-story building. The  |
+             |absence of elevator shafts and air-shafts|
+             |enabled the firemen to extinguish the    |
+             |blaze before it reached the upper floors.|
+
+This tells the main course of the fire, but there are some interesting
+details to add: first, the origin of the fire; next, the discovery; then
+more about how the fire spread; and lastly, how the fire was
+extinguished. Our story by paragraphs would read as follows:
+
+    1st Paragraph--The lead.
+
+    2d Paragraph--Death of MacBane and injury of Bond.
+
+    3d Paragraph--Mrs. Jones's injury and Hilda's rescue.
+
+    4th Paragraph--Buildings, occupants, brief course of fire.
+
+    5th Paragraph--Detailed account of origin of the fire.
+
+    6th Paragraph--How the fire was discovered.
+
+    7th Paragraph--More about the spread and course of the fire.
+
+    8th Paragraph--How the fire was extinguished.
+
+    9th Paragraph--Loss, insurance, extent of damage.
+
+Thus, while telling the story almost in its logical order, we have
+picked out the high spots of interest and crowded them to the beginning.
+Our readers will get the facts just about as fast as they wish to read
+them and in the order in which they wish them. Our story may be run in
+nine paragraphs or even more; or the editor may slash off anything after
+the fourth paragraph without taking away any of the essential facts of
+the fire. This method of telling would fulfill all the requirements of
+an ideal news story. A similar outline of the facts that any story must
+present will often help a reporter to tell his story as it should be
+told. After listing the details he may number them in their order of
+importance and check them off as he has told them.
+
+                  *       *       *       *       *
+
+This idea of throwing the emphasis and interest to the beginning applies
+to the individual paragraphs and sentences of the story, as well. Each
+paragraph must begin strongly and display its most interesting content
+in the first line. The emphatic part of each sentence should be the
+beginning. A glance at any newspaper column shows why this is necessary.
+
+The body of a news story is the place for the reporter's skill and
+style. He is given all the liberties of ordinary narration and should
+make the most of every word. His individual style comes into play here.
+If the interest can be increased by a bit of dialogue the reporter may
+put it in. If the facts can be presented more effectively by means of
+direct quotation, the words of any one whom the reporter has interviewed
+may be of interest. However, these things must not be overworked because
+every trick of writing loses its effectiveness when it is overworked.
+
+Dialogue used only to give facts which might be told more clearly in
+simple direct form should seldom be used. Dialogue in a news story is
+used only to color the story and not to reproduce the interviews by
+which the facts were obtained. In gathering the facts of a story it is
+sometimes necessary to interview a number of people, but these
+interviews should not be quoted in the resulting story. Many a green
+reporter tries to give his story character by telling what the policeman
+on the corner, the janitor, and a small boy in the street told him about
+the incident. He succeeds only in dragging out the length of his story
+and confusing the reader. After all, the purpose of a newspaper is to
+give facts--and the clearer and the more direct the method the better
+will be the result.
+
+In striving for clearness and interest a reporter must remember that one
+of his greatest assets is concreteness of expression. Of all forms of
+composition newspaper writing possesses probably the greatest
+opportunity for definiteness. Facts and events are its one concern;
+theories and abstractions are beyond its range. Hence the more definite
+and concrete its presentation of facts, the better will be its effect.
+The reporter should never generalize or present his statements hazily
+and uncertainly--a fact is a fact and must be presented as such. He must
+try to avoid such expressions as "several," "many," "a few"--it is
+usually possible to give the exact number. He must continually ask
+himself "how many?" "what kind?" "exactly when?" "exactly what?"
+Expressions like "about a dozen," "about thirty years old," "about a
+week ago," "about a block away," are never so effective as the exact
+facts and figures. Definite concrete details make a news story real and
+vivid. The real reporter of news is the one who can see a thing clearly
+and with every detail and present it as clearly and distinctly.
+
+
+
+
+VIII
+
+OTHER NEWS STORIES
+
+
+The fire story is obviously not the only news story that is printed in a
+daily newspaper, but a study of its form gives us a working knowledge of
+the writing of other news stories. The fire story is probably the
+commonest news story, and it is by far the easiest story to handle, for
+its form has become somewhat standardized. We know just exactly what our
+readers want to know about each fire, and within certain limits all
+fires, as well as the reports of them, are very much alike. There is
+seldom more than one fact or incident that makes one fire different from
+another and that fact we always seize as the feature of our report.
+However, the fire story has been taken only as typical of other news
+stories. Now we are ready to study the others, using the fire story as
+our model in writing the others.
+
+There is a vast number of other stories that we must be able to write,
+and they lack the convenient uniformity that fires have. Not only does
+every story have a different feature, but it is concerned with a
+different kind of happening. One assignment may call for the report of
+an explosion, another the report of a business transaction, and another
+a murder. In each one we have to get the facts and choose the most
+striking fact as our feature. Never can we resort to the simple
+beginning "Fire destroyed," but we must find a different beginning for
+each assignment.
+
+Just as in the fire story, the lead of any news story is the most
+important part. It must begin with the most striking part of the event
+and answer the reader's _Where?_ _When?_ _How?_ _Why?_ and _Who?_
+concerning it. All the rules that apply to the fire lead apply to the
+lead of any story.
+
+It would be impossible to classify all the news stories that a newspaper
+must print. The very zest of reporting comes from the changing variety
+of the work; no two assignments are ever exactly alike--if they were
+only one would be worth printing. Newspapers themselves make no attempt
+to classify the ordinary run of news or to work out a systematic
+division of labor; a reporter may be called upon to cover a fire, a
+political meeting, a murder, a business story, all in the same day. Each
+one is simply a story and must be covered in the same way that all the
+rest are covered--by many interviews for facts. For our study it may be
+well to divide news stories into a few large groups. The groups overlap
+and are not entirely distinct, but the stories in each group have some
+one thing in common that may aid us in learning how to write them. At
+most, the list is only a very incomplete summary of the more important
+kinds of news stories and is intended to be merely a suggestive way of
+supplying the student with necessary practice.
+
+
+=1. Accidents.=--Accident stories may be anything from a sprained ankle
+to a disastrous railroad wreck, but they all depend upon one element for
+their interest. They are all printed because people in general are
+interested in the injuries and deaths of other people--physical calamity
+is the common ground in all these stories.
+
+The number of possible accidents is infinite, but there are some common
+types that recur most often. Among these are: railroad, trolley,
+railroad crossing accidents; runaways; electrocutions; explosions;
+collapse of buildings; marine disasters; cave-in accidents; elevator,
+automobile, aviation accidents.
+
+The feature of any accident story is always, of course, the thing that
+made the story worth printing, and that is usually the human life
+element. The feature of an accident story is almost always the number of
+dead and injured. Most reports of railroad wrecks begin with "Ten
+persons were killed and seventeen were injured in a wreck, etc." The
+same is true of any accident story; if more than one person is killed it
+is usually safe to begin with the number of fatalities. In this
+connection it may be noted that the death of railroad employees seldom
+makes a story worth printing; they may be included in the total number,
+but if no passengers are killed, fatalities among trainmen seldom give a
+story any news value.
+
+Accident stories of course have many other possible features; newspapers
+report many accidents in which no one is killed. In that case some other
+element gives the story news value and that element must be played up as
+the feature. Perhaps it is the manner in which the accident happened or
+the manner in which a person was killed or injured, as in an automobile
+accident. The cause of the accident may be the most interesting part of
+the story: train-wreckers or a broken rail in a railroad wreck, or the
+cause of an explosion. Very often an accident is reported simply because
+some well-known person was connected with it in some way; the name then
+becomes the feature and comes into the first line. A story may be worth
+printing simply because of the unusual manner of rescue; such a feature
+is often played up in stories of marine accidents, cave-ins, etc. Not
+infrequently some of the unusual attendant circumstances give a story
+news value: e.g., a policeman dragged from his horse and run over by an
+automobile while he is trying to stop a runaway.
+
+Here are some accident stories from the newspapers:
+
+Fatalities:
+
+             |  Six men were killed and a dozen        |
+             |seriously injured early to-day by an     |
+             |outbound Panhandle passenger train       |
+             |crashing into the rear end of a Chicago, |
+             |Milwaukee and St. Paul stock train at    |
+             |Twelfth and Rockwell streets.--_Chicago  |
+             |Record-Herald._                          |
+
+Manner:
+
+             |  Run down by her own automobile, which  |
+             |she was cranking, at First and G streets,|
+             |northwest, Dr. Alma C. Arnold, a         |
+             |chiropractic physician, 825 Fifteenth    |
+             |street, northwest, was forced against the|
+             |wheel of a passing wagon and seriously   |
+             |injured this morning.--_Washington       |
+             |Times._                                  |
+
+Cause:
+
+             |  Over-balanced by a granite stone       |
+             |weighing four tons, the entire cornice   |
+             |over the west portico of the new west    |
+             |wing of the capitol fell to the ground   |
+             |this afternoon, carrying with it Daniel  |
+             |Logan, foreman for the Woodbury Granite  |
+             |Company.--_Madison Democrat._            |
+
+Attendant Circumstances:
+
+             |  With a blast that shook the entire city|
+             |and was believed by many to be an        |
+             |earthquake, three boilers in the new     |
+             |engine house of the Pabst brewery on     |
+             |Tenth street, between Chestnut street and|
+             |Cold Spring avenue, exploded at about 4  |
+             |o'clock this morning.--_Milwaukee Free   |
+             |Press._                                  |
+
+
+=2. Robberies.=--Another large class of news stories is concerned with
+robberies of various kinds. Unfortunately for the reporter, very few
+robberies are alike; beyond the common ground of the interest in the
+amount stolen and the cleverness of the robber's work, there is seldom
+any one thing that may be looked for as the feature of a robbery story.
+The reporter must decide what in the story makes it worth printing.
+
+Robbery stories may include anything from petty thievery to bank
+defaulting. Some of the possibilities are horse and automobile stealing,
+burglary, hold-ups, train and street-car robbery, embezzlement, fraud,
+kidnapping, safe-cracking, shop and bank robbery. It is well for the
+reporter who has to cover a story of this class to acquaint himself with
+the distinctions that characterize the various kinds of robbery and the
+various names applied to the people who commit this sort of crime: e.g.,
+robber, thief, bandit, burglar, hold-up man, thug, embezzler, defaulter,
+safe-cracker, pick-pocket.
+
+In general the chief interest in robbery stories is in the result of
+the work--the amount taken--usually accompanied by a term to designate
+the sort of robbery. Just how the crime was committed is often the
+feature, as in a train robbery or a clever case of fraud. If the victim
+or victims are at all well known their names may become the most
+interesting thing in the story--or even the name of a well-known
+criminal or band of robbers. In some stories, especially if another
+paper has already covered the story, the pursuit or capture of the
+criminals is often interesting; the stories of bank robberies often
+begin in this way. Other attendant circumstances, such as the number of
+persons who witnessed the crime, may be the feature. In hold-ups,
+burglaries, and crimes of that sort, the death or wounding of the victim
+is often played up. Sometimes the reason for the crime, as in a
+kidnapping case, is of great significance. In the case of a robbery of a
+bank or any other institution which depends upon credit for its
+business, the story usually begins with, or at least mentions near the
+beginning, the present condition of the robbed institution. It is safe
+to say that in no case is the name of the criminal, the manner of his
+arrest (if it is not unusual), the police station to which he was taken,
+or the charge preferred against him worth a place in the lead.
+
+Some robbery stories from the daily press:
+
+Amount taken:
+
+             |  Furs worth $40,000 were stolen in the  |
+             |early hours of yesterday morning within a|
+             |stone's throw of Madison Square.         |
+             |Apparently a gang in which there was a   |
+             |woman expert in choosing only the best   |
+             |furs carried off the costly skins,       |
+             |etc.--_New York World._                  |
+
+Manner of hold-up:
+
+             |  Seized by thugs in broad daylight as he|
+             |was crossing the railroad tracks at the  |
+             |foot of First avenue east, Fred Butzer, a|
+             |stonemason of Butler, Minn., was thrown  |
+             |to the ground, a gag placed in his mouth,|
+             |his pockets were rifled of $36.--_Duluth |
+             |News-Tribune._                           |
+
+Unusual sort of pickpocket:
+
+             |  A young man in evening dress, who was  |
+             |going down into the subway station at    |
+             |Times Square with the theater crowd that |
+             |filled the entrance just outside of the  |
+             |Hotel Knickerbocker early last night,    |
+             |paused, knocked a woman under the chin   |
+             |and took away her silver chatelaine purse|
+             |containing $20 as deftly as he might have|
+             |flicked the ash off his cigarette. Then  |
+             |he disappeared.--_New York Times._       |
+
+Unusual thieves:
+
+             |  Two girl thieves not more than twelve  |
+             |years old and small in stature for their |
+             |age have been operating with great       |
+             |success in the different stores in the   |
+             |neighborhood of Amsterdam avenue and     |
+             |Seventy-ninth street. Five or six thefts,|
+             |etc.--_New York Telegram._               |
+
+Pursuit and capture:
+
+             |  After a chase along Forty-second street|
+             |and up the steps of the Hotel Manhattan, |
+             |a woman, who said she was Sadie Brown,   |
+             |thirty-three years old, of No. 215 West  |
+             |Forty-sixth street, was arrested early   |
+             |today on suspicion of having picked the  |
+             |pocket of a man at, etc.--_New York      |
+             |Telegram._                               |
+
+Present conditions of robbed bank (second paragraph of an embezzlement
+story):
+
+             |  Banking Commissioner Watkins this      |
+             |afternoon declared that he found the bank|
+             |perfectly sound, that all commercial     |
+             |paper was found intact, that none of the |
+             |accounts have been juggled and that no   |
+             |erasures of any kind were                |
+             |discovered.--_Philadelphia Inquirer._    |
+
+Unusual sort of burglar:
+
+             |  Wearing a Salvation Army uniform, a    |
+             |burglar was caught early yesterday in the|
+             |home of Walter Katte, a vice-president of|
+             |the New York Central railroad, at        |
+             |Irvington-on-the-Hudson.--_New York      |
+             |World._                                  |
+
+
+=3. Murder.=--The reports of crimes of this sort can hardly be
+classified, for there are so many things that may be worth featuring in
+any murder case. The story itself is usually of such importance that the
+mere fact that a murder has been committed gives it news value even if
+there is nothing unusual in the crime--just as in the case of a
+featureless fire story that begins with "Fire." The handling of a crime
+depends upon the character and circumstances; the reporter must weigh
+the facts in each case for himself. However, we usually find a feature
+in the number of persons murdered, the manner in which the crime was
+committed, the name of the victim, if he or she is well known, the
+reason for the deed, or in some of the many attendant circumstances,
+such as arrest, pursuit, etc. One rule must always be followed in the
+reporting of a murder story: the reporter must confine himself to the
+necessary facts and omit as many of the gruesome details as possible. He
+must tell it in a cold, hard-hearted way without elaboration, for the
+story in itself is gruesome enough. Just as soon as a murder story
+begins to expand upon shocking details it becomes the worst sort of a
+yellow story.
+
+Examples of murder stories from the newspapers:
+
+Manner:
+
+             |  After crushing in the head of his      |
+             |superior officer with an axe, James      |
+             |Layton, boatswain of the Liverpool       |
+             |sailing ship Colony, refused to submit to|
+             |arrest, and, still waving the bloody     |
+             |weapon, committed suicide by jumping into|
+             |the sea.--_New York Mail._               |
+
+Motive:
+
+             |  In revenge for a beating he received   |
+             |the day before, Gaetona Ambrifi yesterday|
+             |shot and instantly killed Frank          |
+             |Ricciliano, a sub-section foreman on the |
+             |Pennsylvania Railroad, while they were   |
+             |working on the roadbed near Peddle       |
+             |street, Newark.--_New York Sun._         |
+
+Prominent name:
+
+             |  Mayor William J. Gaynor of New York    |
+             |City was shot and seriously, perhaps     |
+             |fatally, wounded on board the steamer    |
+             |Kaiser Wilhelm der Grosse at 9:30 as he  |
+             |was sailing for Europe.                  |
+
+Resulting pursuit:
+
+             |  The police of Brooklyn have another    |
+             |murder mystery to unravel through the    |
+             |finding early today of the body of Peter |
+             |Barilla on Lincoln road, near Nostrand   |
+             |avenue, Flatbush. There were two bullet  |
+             |wounds in the body and four stab wounds  |
+             |in the back.--_Brooklyn Eagle._          |
+
+Attendant circumstances:
+
+             |  A hundred or more persons who were     |
+             |about to take trains witnessed the       |
+             |shooting to death of a Jersey City       |
+             |business man in the Pennsylvania Railroad|
+             |station there this afternoon.--_New York |
+             |Mail._                                   |
+
+
+=4. Suicide.=--What is true of murder stories is also true of suicide.
+Each individual case has an unusual feature of its own. We ordinarily
+find a good beginning in the manner of the suicide, the name of the
+person who has killed himself if he is well known, the reason for the
+act, or some one of the attendant circumstances--often the manner of
+resuscitation if the crime is unsuccessful. For some unexplained reason
+many papers do not print accounts of ordinary suicides, except when the
+individual is prominent. At any rate the story must be told without
+gruesome details and as briefly as possible.
+
+Examples from the press:
+
+Name:
+
+             |  William L. Murray of Rockview avenue,  |
+             |North Plainfield, paying teller of the   |
+             |Empire Trust Company of New York,        |
+             |committed suicide at Scotch Plains early |
+             |this afternoon by shooting himself in the|
+             |head. No reason is assigned for the      |
+             |act.--_New York Sun._                    |
+
+Motive:
+
+             |  Driven insane by continued brooding    |
+             |over ill health, Miss Ada Emerson, a     |
+             |former teacher in the Beloit city        |
+             |schools, killed herself in a crowded     |
+             |interurban car Saturday afternoon by     |
+             |slashing her throat with a               |
+             |razor.--_Beloit Free Press._             |
+
+Here the manner is the feature, but it is not played up in the first
+line because it is too horrible.
+
+
+=5. Big Stories.=--The big stories of catastrophes are usually handled
+on a large scale--played up, as the newspaper men say. The story in
+itself is of sufficient importance to make it unnecessary to play up any
+single feature of the story. However, the reporter, in looking for a
+good beginning, often finds it in the most startling fact in the story.
+If he is reporting a riot he usually begins with the number of killed
+or injured, the amount of property destroyed, the character of the riot,
+or the cause, as in this example:
+
+             |  In an effort to bring about the        |
+             |reinstatement of one of their number who |
+             |had been discharged for non-unionism, a  |
+             |hundred or more journeymen bakers wrecked|
+             |the bakeshop of Pincus Jacobs, at No.    |
+             |1571 Lexington avenue, early this        |
+             |morning.--_New York Evening Post._       |
+
+In the case of a storm the human life element is of greatest importance,
+then the damage to property, and last, the peculiar circumstances. For
+example:
+
+             |  CLEVELAND, Dec. 11.--Fifty-nine lives  |
+             |were the cost of a storm which passed    |
+             |over Lake Erie Wednesday night and       |
+             |Thursday, and more than $1,000,000 worth |
+             |of vessel property was destroyed.--_New  |
+             |York Evening Post._                      |
+
+If the story is concerned with a flood the human-life element is first,
+then the damage, the cause, the freaks of the flood, or the present
+situation. For example:
+
+             |  PARKERSBURG, W. Va., March 10.--Three  |
+             |persons are known to have perished in a  |
+             |flood which swept down upon the city on  |
+             |Friday when two water reservoirs on      |
+             |Prospect Hill burst without warning.     |
+             |Forty houses were destroyed and many     |
+             |persons are missing. The property damage |
+             |will be nearly $500,000.                 |
+
+
+=6. Police Court News.=--The ordinary run of police court news is in a
+class by itself. Usually the only news value in the story depends upon
+some unusual incident or circumstance that attracts the attention of the
+reporter. This is of course the source of many of the stories of crime,
+mentioned before, but many stories turn up at the police courts which
+are not concerned with crime, although in some cases they are concerned
+with criminals. In this field of reporting there are many opportunities
+for the human-interest story which will be taken up in a later chapter.
+When the incident is reported in an ordinary news story the feature is
+usually in some attendant circumstance and the story might well be
+classed with one of the above groups. Here are two examples from the
+daily press:
+
+             |  Because he did not have sufficient     |
+             |money to buy flowers for his sweetheart, |
+             |Henry Trupke, aged 21 years, forged a    |
+             |check for $22.50 on a grocer, J.         |
+             |Sieberlich, 781 Third street, and after a|
+             |week's chase was caught last night as he |
+             |got off a Wisconsin Central              |
+             |train.--_Milwaukee Sentinel._            |
+
+             |  But a few hours before receiving a     |
+             |sentence of two years in the house of    |
+             |correction for stealing furs from the    |
+             |store of Lohse Bros., 117 Wisconsin      |
+             |street, John Garner, self-confessed      |
+             |thief, was married to Rose Strean, one   |
+             |of the witnesses in the case, which was  |
+             |tried yesterday in the municipal         |
+             |court.--_Milwaukee Free Press._          |
+
+
+=7. Reports of Meetings, Conferences, Decisions, etc.=--This group
+includes all reports of meetings, or conferences, of bodies of any sort,
+political or otherwise, reports of judicial or legislative hearings or
+decisions, or announcements of resolutions passed. Such as:
+
+             |  WASHINGTON, Jan. 15.--Acquisition of   |
+             |the telegraph lines by the government and|
+             |their operation as a part of the postal  |
+             |system is the latest idea of Postmaster  |
+             |General Hitchcock. Announcement was made |
+             |today that a resolution to this effect   |
+             |will be offered to Congress at the       |
+             |present session.--_Wisconsin State       |
+             |Journal._                                |
+
+There is always one thing in these stories that gives them news
+value--the purpose or result of the conference, hearing, or
+announcement. This purpose or result, of course, must be played up. The
+one point that the reporter should remember is that a well-written lead
+begins with the result or purpose of the meeting or announcement rather
+than with the name of the meeting or the name of the body that makes the
+announcement. Never begin a story thus: "At a meeting of the Press Club
+held in the Auditorium last night it was resolved that----" Transpose
+the sentence and begin with a statement of what was resolved. In the
+following story the order is wrong:
+
+             |  The Supreme Court of the United States,|
+             |through the opinion delivered by Justice |
+             |Vandevanter, today declared              |
+             |constitutional the employers' liability  |
+             |law of 1908.                             |
+
+The import of the decision is buried; it should be written thus:
+
+             |  The employers' liability law of 1908   |
+             |was today declared constitutional by the |
+             |Supreme Court of the United States.      |
+             |Justice Vandevanter delivered the opinion|
+             |of the court, made in four cases.        |
+
+In these stories, as in all other news stories, the lead must begin with
+the fact or statement that gives the story news value. Burying this fact
+or statement behind two or three lines of explanation spoils the
+effectiveness of the lead. A student of journalism may gain very good
+practice in the writing of news stories by looking over the leads that
+appear in the daily papers and transposing those leads which bury their
+news behind explanations. The first line of type in a lead is like a
+shop's show window and it must not be used for the display of packing
+cases.
+
+
+=8. Stories on Other Printed Matter.=--A large part of a newspaper's
+space, especially in smaller cities, is devoted to stories based on
+printed bulletins, announcements, city directories, legislative bills,
+and published reports of various kinds. Sometimes a news story is
+written upon a pamphlet that was issued for advertising
+purposes--because there is some news in it. In all of these stories the
+reporter must look through the pamphlet to find something of news value
+or something that has a significant relation to other news. Smaller
+papers often print stories on the new city directory; the increase or
+decrease in population is treated as news and a very interesting story
+may be written on a comparison of the names in the directory. In
+university towns the appearance of a new university catalog or bulletin
+of any sort is the occasion for a story which points out the new
+features or compares the new bulletin with a previous one. Reporters and
+correspondents in political centers, like state capitals, get out
+stories on committee and legislative reports and on new bills that are
+proposed or passed by the legislature. The writing of these stories is
+very much like the reporting of a speech, which will be discussed later.
+The newest or most interesting feature in the report or bill is played
+up in the lead as the feature of the story, followed by the source of
+the story, the printed bulletin upon which the story is based; thus:
+
+             |  A new plan for placing the control of  |
+             |all water power in the state in the hands|
+             |of the legislature was proposed in the   |
+             |minority report of Senators J. B. Smith  |
+             |and L. C. Blake, of the special          |
+             |legislative committee on drainage, issued|
+             |today.                                   |
+
+These eight classes of news stories do not include all the news stories
+that a newspaper prints, but they are in a way typical of all the others
+that are not mentioned. It will be noted from these that all news
+stories, just like the fire story, are usually written in about the same
+way. Each one has a lead which begins with the feature of the
+story--i.e., the fact or incident in the story which gives it news value
+and makes it of interest--and concludes by answering the reader's
+questions, when, where, who, how, why, concerning the feature. Each
+story begins again after the lead, and in one or more paragraphs
+explains, describes, or narrates the incident in detail and in logical
+order. This body of the story which follows the lead, while following in
+general the logical order, is so written that its most interesting facts
+are near the beginning and its interest dwindles away toward the end.
+This is to enable the editor in making up his paper, to take away from
+the end of any story, as we have seen before, a paragraph or more
+without spoiling the story's continuity or depriving it of any of its
+essential facts. The form of the conventional fire story may be used as
+a model in the writing of any news story.
+
+In writing the body of a story to explain, describe, or narrate the
+incident mentioned in the lead, every effort should be directed toward
+clearness. This is particularly true of stories which are in the main
+narrations of action. The number of facts that may be included must
+depend upon the length of the story; if all of the facts cannot be
+included without overburdening the story, cut out some of the details of
+lesser importance, but treat those that are included in a clear readable
+way. Short sentences are always much better in newspaper writing than
+long involved sentences. Pronouns should always be used in such a way
+that there can be no doubt in regard to their antecedents. If a
+relative clause or participial expression sounds awkward make a separate
+sentence of it. In other words, be simple, concise, and clear--that is
+better in a newspaper than much fine writing.
+
+
+
+
+IX
+
+FOLLOW-UP AND REWRITE STORIES
+
+
+The terms "rewrite story" and "follow-up, or follow, story," are names
+which newspaper men apply to the rehashed or revised versions of other
+news stories. A large newspaper office employs one or more rewrite men
+who spend their entire time rewriting stories. To be sure, a part of
+their work consists of rewriting, or simply recasting, poorly written
+copy prepared by the reporters. But the major part of their work, the
+part that interests us, involves something more than that. It involves
+the rejuvenation of stories that have been printed in a previous edition
+or in another paper, with the purpose of bringing the news up to the
+present moment.
+
+News ages very rapidly. What may be news for one edition is no longer
+news when another edition goes to press an hour later. A feature that
+may be worth playing up in a morning paper would not have the same news
+value in an evening paper of the same day. The news grows stale so
+quickly because new things are continually happening and new
+developments are continually changing the aspect of previous stories.
+If a story has been run through two or three editions and new
+developments have changed it, the story is turned over to a rewrite man
+for consequent alteration. A story in a morning paper is no longer news
+for an evening paper of the same date, but a clever rewrite man, with or
+without new developments added to the story, can recast it so that it
+will appear to contain more recent news than the original story. The
+story of an arrest in a morning paper begins with the particulars of the
+arrest; but when the evening paper's rewrite man has rearranged it for
+his paper it has become the story of the trial or the police court
+hearing which followed the arrest. Perhaps the evening paper sends a man
+to get the later developments in the case, but every rewrite man knows
+the steps that always follow an arrest and he can rewrite the original
+story without additional information. His account of the later
+developments is called either a rewrite or a follow-up story, depending
+upon the method employed. The same fundamental idea of rejuvenating the
+former story governs the preparation of both the rewrite and the
+follow-up story, but while the rewrite story contains no additional
+news, the follow-up presents later facts in addition to the old news.
+
+
+=1. The Rewrite Story.=--The rewrite story is primarily a rehashing of a
+previous news story without additional facts. It attempts to give a new
+twist to old facts in order to bring them nearer to the present time.
+Without the aid of later facts the rewrite man can only select a new
+feature and revise the old facts. For example, suppose that a $100,000
+grain elevator burns during the night. The fire would make a big story
+in a city of moderate size and the papers next morning would treat it at
+length. If no one were killed or injured the story would probably begin
+with a simple announcement of the fire in a lead of this kind:
+
+             |  Fire destroyed the grain elevator of   |
+             |the H. P. Jones Produce Company, First   |
+             |and Water streets, and $50,000 worth of  |
+             |wheat at 2 o'clock this morning. The     |
+             |total loss is estimated at $150,000.     |
+
+Then the reporter would describe the fire at length, including all
+obtainable facts. By afternoon almost every one in the city has read the
+story--and yet the afternoon papers must print something about the big
+fire. If no new facts can be obtained the previous story must be
+rehashed and presented with a new feature that will make it appear to be
+a later story. It is useless to begin the evening story with a mere
+announcement of the fire, for that is no longer news, and the rewrite
+man must find a new beginning to attract the attention of his readers.
+Perhaps in looking over the morning story, he finds that the fire was
+the result of spontaneous combustion in the grain stored in the
+elevator. In the morning story this fact was rather insignificant in the
+face of the huge loss, and most readers passed over it hastily. The
+rewrite man, however, who has no later facts at his command, may seize
+it as a new feature. Instead of beginning his story with the fact of the
+fire, which is already known, he begins with the cause, which appears to
+be later news. His lead may be as follows:
+
+             |  Spontaneous combustion in the wheat    |
+             |bins of the H. P. Jones Produce Company's|
+             |elevator, First and Water streets,       |
+             |started the fire which destroyed the     |
+             |entire structure with a loss of $150,000 |
+             |this morning.                            |
+
+Or if the rewrite man is not so fortunate as to discover a new feature
+as good as this, he may have to resort to beginning with a picture of
+the present results of the fire--thus:
+
+             |  Smouldering ruins and a tangled mass of|
+             |steel beams are all that remain of the H.|
+             |P. Jones Produce Company's $100,000      |
+             |grain elevator, First and Water streets, |
+             |which was destroyed by fire this morning.|
+
+It will be noticed that, while these new rewrite leads begin with a new
+feature, each new lead contains all the facts presented in the previous
+lead and is told with an eye to the man who has not read the earlier
+account. After the lead the rewrite man retells the whole story for the
+benefit of readers who did not see the morning papers and rearranges the
+facts so that they appear new to those who read the previous stories.
+Facts which the other papers buried he unearths and displays; details
+which appear to be later developments he crowds to the beginning. The
+whole story is sorted and rewritten in a new order and with a new
+emphasis. The result is a rewrite story which appears to be later,
+although it contains no new facts at all. It is seldom, of course, that
+such a rewrite story is used for local news, for very rarely is it
+impossible for a later paper to discover new facts. But in the case of
+news from the outside world, from other cities, the simple method of
+rehashing old facts must often be resorted to. If the story is based
+upon a single dispatch announcing an earthquake in Hawaii or a shipwreck
+in mid-ocean, many rewrite stories must be printed on the same facts
+before another message brings later news and additional details. An
+example of this is the treatment of the first few stories of the wreck
+of the White Star liner _Titanic_. The story was a big one, but the
+first dispatches were very meager and many rehashings of these few facts
+had to be printed before later and more definite news could be obtained.
+
+The simple rewriting of an old story ordinarily involves a condensation
+of the facts. If a morning paper printed two thousand words on the grain
+elevator fire above, an afternoon paper of the same day would hardly
+treat the story at such length. For the story is no longer big news. If
+a story has run through the first editions of a morning paper it would
+be cut down, as well as rehashed, in the later editions of the same
+paper. The story of the fire loses its initial burst of interest after
+the first printing, and only the essential facts and the facts that can
+be rejuvenated can be reprinted. The 2,000-word version in the morning
+paper may be worth only five hundred words or less four hours later.
+
+
+=2. The Follow-up Story.=--If new facts are added to a story between
+editions the new version is no longer a simple rewrite story. It becomes
+a follow-up story, for it follows up the subsequent developments in the
+previous story and corresponds to the second or succeeding installments
+of a serial novel in which each installment begins with a synopsis of
+previous chapters. For example, if, in the grain elevator fire story,
+the body of a watchman were found in the ruins after the morning papers
+have gone to press, the story would immediately have a different news
+value for the evening papers. The story of the big fire is old, but the
+discovery of the body is new. Hence the rewrite man would begin with the
+later development--perhaps thus:
+
+             |  The body of a watchman was found this  |
+             |afternoon in the ruins of the H. P. Jones|
+             |Produce elevator, which burned to the    |
+             |ground this morning with a loss of       |
+             |$150,000.                                |
+
+The new story, while retelling the principal facts in the previous
+account, would give prominence to the latest news, the discovery of the
+body. As an example from a newspaper, let us take the follow-up of a
+murder mystery. The first stories on this murder simply said that a
+grocer had been found dead in the cellar of his store and murder had
+been suggested. The follow-up on the next day (printed here) deals with
+a new development--has a new feature--and carries the story one step
+further in the attempt to unravel the mystery:
+
+             |  Developments yesterday in the story of |
+             |the killing of James White, the Park     |
+             |street grocer, tended to support the     |
+             |contention of Coroner Donalds and the    |
+             |police that White was not murdered, but  |
+             |died by his own hand.                    |
+
+
+=3. Analysis.=--So far we have treated the rewrite story and the
+follow-up story separately, but for the purposes of analysis and study
+they may be treated together, because the same fundamental idea governs
+both. Dissection of the follow-up story will also show us what the
+rewrite story is made of.
+
+From the above clippings it will be seen that the lead of the follow-up
+story is very much like that of any news story. The lead has its feature
+in the first line and answers the reader's questions concerning that
+feature. It is simply a new story written on an old subject which has
+been given a new feature to make it appear new. Furthermore, it will be
+noticed that the lead of the follow-up story is complete in itself,
+without the original story that preceded it. Although the whole idea of
+the follow story is based on the supposition that all readers have read
+every edition of the paper and are therefore acquainted with the
+original story, yet for the benefit of those readers who have not read
+the previous story, the follow-up must be complete and clear in itself.
+New facts are introduced into the follow story, but its lead tells the
+main facts of the original story so that no reader will be at loss to
+understand what it is all about--in other words, it gives a synopsis of
+previous chapters. In many follow-up stories the new developments are
+supplemented by an entire retelling of the original story. This is
+especially true when one paper is rewriting a story which broke too late
+for its preceding edition and was covered by a rival paper. At any rate,
+every follow-up story, like every other news story, must be so
+constructed as to stand by itself without previous explanation.
+
+             |  Of the 142 bodies of victims of the    |
+             |Triangle Waist Company's fire on         |
+             |Saturday, that had been taken to the     |
+             |morgue up to noon yesterday when it was  |
+             |decided that all the dead had been       |
+             |recovered, all but 45 had been identified|
+             |today.                                   |
+
+This is a follow-up of a story two days before. Every reader of the
+paper probably knew everything that had been printed previously about
+the fire, and yet this lead very carefully recalls the fire to the
+reader's mind. Later in the story the principal facts of the original
+story are retold as if they were new and unknown.
+
+It is interesting to see what in any given newspaper story can be
+followed up for a later story. The would-be reporter may get good
+practice in writing follow-up stories from the mere attempt to study out
+the next step in any given new story. With this next step as his feature
+he may try to write a follow-up story without additional information,
+and then compare it with other follow-up stories. For every news story
+contains within it clues to what may be expected to follow.
+
+When any serious fire occurs certain additional facts may always be
+expected to follow. The finding of more dead, the unravelling of a
+mysterious origin, the re-statement of the loss, and the present
+condition of the injured are some of the possibilities that a rewrite
+man considers when he tries to prepare a follow-up story on a fire. The
+Washington Place fire in New York on March 25, 1911, furnished admirable
+material for the study of the rewriting of fire stories. The fire
+occurred on Saturday afternoon too late for anything but the Sunday
+editions. The original story as it appeared in the Sunday papers and the
+Monday issues, of papers which had no Sunday editions, began like this:
+
+             |  One hundred and forty-one persons are  |
+             |dead as a result of a fire which on      |
+             |Saturday afternoon swept the three upper |
+             |floors of the factory loft building at   |
+             |the northwest corner of Washington place |
+             |and Greene street. More than             |
+             |three-quarters of this number are women  |
+             |and girls, who were employed in the      |
+             |Triangle Shirt Waist factory, where the  |
+             |fire originated.--_Boston Transcript,    |
+             |Monday._                                 |
+
+The Monday stories on the fire followed up various phases as shown in
+the following. Each one while indicating that the story was a follow-up
+retold the principal incidents in the fire.
+
+             |  The death list in the Washington place |
+             |and Greene street fire was swelled today |
+             |to 145, a majority of the victims being  |
+             |young girls.--_Monday morning--second    |
+             |story._                                  |
+
+             |  At dawn today it was estimated that    |
+             |25,000 persons had visited the temporary |
+             |morgue on the covered pier at the foot of|
+             |East Twenty-sixth street, set aside to   |
+             |receive the bodies of those who perished |
+             |in the Washington place fire on Saturday |
+             |afternoon.--_Monday morning--second      |
+             |story._                                  |
+
+             |  The horror of the fire in the ten-story|
+             |loft building at Washington place and    |
+             |Greene street late Saturday afternoon,   |
+             |with its heavy toll of human lives, grows|
+             |blacker each succeeding hour.--_Monday   |
+             |afternoon._                              |
+
+             |  Of the 142 bodies in the morgue as a   |
+             |result of the Triangle Shirt Waist       |
+             |factory fire, all but fifty had been     |
+             |identified this morning.--_Monday        |
+             |afternoon._                              |
+
+On Tuesday other lines opened up for the rewrite man:
+
+             |  Sifting down the great mass of         |
+             |testimony at their disposal, city and    |
+             |county officials hoped today to draw     |
+             |closer to the source of responsibility   |
+             |for Saturday's factory fire horror in    |
+             |which 142 persons lost their lives.      |
+             |Investigations started                   |
+             |yesterday.--_Tuesday afternoon._         |
+
+             |  With all but twenty-eight of the       |
+             |victims of the Triangle Shirt Waist      |
+             |factory horror identified, District      |
+             |Attorney Whitman continues steadily      |
+             |compiling evidence. Funerals for scores  |
+             |of victims are being held today, while   |
+             |the relief fund, etc.--_Tuesday          |
+             |afternoon._                              |
+
+             |  Borough President McAneny of Manhattan,|
+             |the district attorney's staff, the fire  |
+             |marshal, the coroner and the state labor |
+             |department are bending every energy      |
+             |toward fixing the blame for the loss of  |
+             |the 142 lives in the, etc.--_Tuesday     |
+             |afternoon._                              |
+
+             |  Union labor, horrified by the full     |
+             |realization that the waste of human life |
+             |in the Triangle Waist factory fire might |
+             |have been saved had existing laws been   |
+             |enforced, today arranged for a monster   |
+             |demonstration of protest, etc.--_Tuesday |
+             |afternoon._                              |
+
+And so the stories ran for many days until newspaper readers had lost
+all interest in the fire. Most of the stories were simply retellings of
+the original story with a new bit of information in the lead. People
+were ravenous for more details about the fire and the follow stories
+supplied them until they were satisfied. Rarely is a fire worth so many
+retellings.
+
+A serious accident is often followed up in one or more editions. If many
+people are killed or injured, the revised list of dead or the present
+condition of the injured always furnishes material for a follow-up.
+Sometimes the fixing of the blame, as in a railroad accident, or other
+resulting features are used as the basis of the rewriting.
+
+In the case of a robbery the commonest material for a follow-up story is
+the resulting pursuit or capture. Very often a final report of the loss,
+the present condition of a robbed bank or public institution, or perhaps
+the regaining of the booty, makes a feature for a new story. But usually
+the follow-up is concerned with the pursuit, capture, or trial. This is
+especially true if the original story has been told by an earlier paper
+and another later paper wishes to print a more up-to-date story on the
+robbery, such as:
+
+             |  MINOCQUA, Wis., Oct. 22.--It now begins|
+             |to look as if the bandits who robbed the |
+             |State Bank of Minocqua early Tuesday     |
+             |morning would make their escape with the |
+             |booty. (This is followed by a re-telling |
+             |of the entire story of the robbery and an|
+             |account of the pursuit.)                 |
+
+The most usual follow-up of a murder story is interested in the pursuit,
+capture, or trial of the perpetrator of the deed. For example:
+
+             |  Following the discovery of the body of |
+             |Pietro Barilla, an Italian, of Woodhaven,|
+             |Long Island, who was stabbed to death by |
+             |four men, presumably Black Hand members, |
+             |in Lincoln Road, near Flatbush, early    |
+             |yesterday morning, the police arrested   |
+             |three men yesterday.                     |
+
+Very often the present condition of the victim of an attempted murder
+calls for a new story. The stories following the attempted murder of
+Mayor Gaynor of New York are good examples of the latter. If a mystery
+surrounds the crime a possible solution is grounds for a new story. The
+stories which might follow the unraveling of the mystery surrounding the
+fictitious death of the grocer, mentioned at the beginning of this
+chapter, would be second-day murder stories. The original story, let us
+say, was something like this:
+
+             |  James White, a groceryman, was found   |
+             |dying yesterday with a bullet wound in   |
+             |his abdomen, in the cellar of his grocery|
+             |store at 1236 Park street.               |
+
+The next story on the murder would be concerned with the unraveling of
+the mystery, thus:
+
+             |  The preliminary inquiry yesterday by   |
+             |Coroner John F. Donalds, into the        |
+             |mysterious death of James White, the Park|
+             |street grocer, resulted in the conclusion|
+             |that White was murdered.                 |
+
+And so the stories might run on day after day following the solution of
+the case like the succeeding chapters of a continued novel, and each one
+gives the synopsis of the preceding chapters in its lead, as every good
+follow-up story should do.
+
+Suicide stories seldom offer material for follow-up stories unless there
+is some mystery surrounding the case. Sometimes the present condition of
+a resuscitated victim of attempted suicide or the disposition of the
+estate of a suicide offers material for rewriting.
+
+Serious storms and floods are usually followed up for several days.
+Readers are always interested in the present condition of the devastated
+region. Very often the list of dead and injured is revised from day to
+day, and any attempt to lend aid to the unfortunate victims is always a
+reason for a later story.
+
+Any meetings, conferences, trials, conventions, or the like must be
+followed up day by day with succeeding stories. Each story is complete
+in itself, but each one adds one more chapter to the report of the
+meeting. This method of following a continued proceeding calls for a
+series of follow-up stories; examples of the stories that follow a
+continued legal trial will be given later under Court Reporting.
+
+                  *       *       *       *       *
+
+Many other illustrations might be given of follow-up stories that appear
+daily in the newspapers. In the last analysis, the follow-up or the
+rewrite story is nothing more than an ordinary news story, and as such
+must be written in the same way. It begins with a lead which plays up a
+feature and answers the reader's questions about the subject; the body
+of the story runs along like the body of any news story. But it is
+different in being a later chapter of a previous account; while complete
+in itself, it must not only indicate the previous story, but must tell
+its most important facts for readers who may have missed the previous
+story. It is simply a news story which is tied to a previous story by a
+string of cause and effect.
+
+
+=4. Following Up Related Subjects.=--In this connection it may be well
+to mention another kind of follow-up story that is usually written in
+connection with big news events. It is written to develop and follow up
+side lines of interest growing out of the main story. In its most usual
+form it is a statistical summary of events similar to the great event of
+the day--such as similar fires, similar railroad wrecks, etc., in the
+past. Any big story attracts so much attention among newspaper readers
+that the facts at hand are usually not sufficient to supply the public's
+demand for information on the subject. To satisfy these demands editors
+develop lines of interest growing out of the main event. They interview
+people concerning the event and concerning similar events; they describe
+similar events that have taken place in the past; they summarize and
+compare similar events in the past--in short, they follow up every line
+of interest opened up by the big story and write stories on the result.
+These stories are of the nature of follow-up stories in that they grow
+out of, and develop, the main story in its greatest extent.
+
+For example, the wreck of the ocean liner _Titanic_ called for
+innumerable side stories because the public's interest demanded more
+facts than the newspapers had at hand to supply. Hence, the papers wrote
+up similar shipwrecks in the past, gathered together summaries of the
+world's greatest shipwrecks, interviewed people who had been in any way
+connected with shipwrecks or with any phase of this shipwreck, described
+glaciers and icebergs, estimated the depth of the ocean where the
+_Titanic_ sank, described the White Star liner and other liners,
+pictured real or imaginary shipwrecks, and developed every other related
+subject. The real news in all this mass of material was very meager, but
+the related stories satisfied the greedy public and helped newspaper
+readers to understand and to picture the real significance of the meager
+news.
+
+In the same way a disastrous fire, like the burning of the Iroquois
+Theater, calls for innumerable outgrowing stories. Even when the event
+reported in the main news story is not sufficiently important to call
+for related stories, it is often accompanied by a list (usually put in a
+box at the head of the story) of other similar events and their results.
+These follow-up stories of related subjects are, in form, very much like
+feature stories, although they usually conform to the follow-up idea of
+mentioning in their leads the main news event to which they are
+related.
+
+
+
+
+X
+
+REPORTS OF SPEECHES
+
+
+Every profession has its disagreeable tasks; journalism has perhaps more
+disagreeable tasks than any other profession. All of a reporter's work
+is not concerned with running down thrilling stories and writing them up
+in a whirl of breathless interest. Our readers demand other kinds of
+news, and it is the reporter's task to satisfy them faithfully. There is
+probably no phase of the work that is quite so irksome as the reporting
+of speeches, lectures, sermons, etc., and there is probably no phase of
+the work about which most reporters have fewer definite rules or ideas.
+Read the reports of the same speech in two different papers and note the
+difference. They seldom contain the same things and more seldom do they
+tell what the speaker said, in the way and the spirit in which he said
+it. It is irksome work and difficult work to condense an hour's talk
+into three stickfuls, and few reporters know exactly how to go about
+it.
+
+The report of a speech or a sermon or a lecture may come to a newspaper
+office in one of two ways. A copy of it may be sent to the paper or the
+reporter may have to go to hear the address and take notes on it. Very
+often the speaker kindly sends a printed or typewritten copy of his
+speech to the editor a few days in advance with the permission to
+release it--or print it--on a certain date, after the speech has been
+delivered in public. If the speech is to be printed in full, the task is
+a mere matter of editing and does not trouble the reporter. Very few
+speeches receive so much space. The others must be condensed and put in
+shape for printing.
+
+After all, the usual way to get a speech is to go to the public delivery
+of the speech and bring back a report of it. At first sight this is a
+difficult task and green reporters come back with a very poor resumé.
+However, a word or two of advice from the editor or some bitter
+experience eases the way. Some advice may be given here to prepare the
+would-be reporter beforehand.
+
+Some reporters who know shorthand prefer to make a stenographic report
+of the entire speech and rearrange and condense it in the office. This
+method is advisable only in the case of speeches of the greatest
+importance; it is too laborious for ordinary purposes, since the account
+includes at most only a part of the speech. The best way, doubtless, to
+get a speech is to take notes on it. And yet this must be done properly
+or there is a danger of misinterpretation of statements or of undue
+emphasis upon any single part of the speech. The report of a speech
+should be as well balanced and logical as the speech itself, differing
+from the original only in length and the omission of details. The speech
+report must be accurate and truthful or the speaker may appear at the
+office in a day or two with blood in his eye. A few rules may be
+suggested as an aid to accuracy and truthfulness.
+
+In the first place, do not try to get all the speech; do not try to get
+more than a small part of it--the important part. There are two ways of
+doing this. If the speech is well arranged and orderly it is easy to
+tell when the speaker has finished one sub-division and is beginning
+another. Each division and subdivision will naturally contain a topic
+sentence. Watch for the topic sentences and get them down with the
+briefest necessary explanation to make them clear. Political speeches or
+impromptu talks are, on the other hand, not always so logically
+arranged. Sometimes it is possible to get the topic sentences, but more
+often it is not. Then watch for the interesting or striking statements.
+You will be aided in this by the audience about you. Whenever the
+speaker says anything unusually striking or of more than ordinary
+interest the audience will show it by signs of assent or dissent. Watch
+for these signs, even for applause--and take down the statement that was
+the cause. If the statement interested the original audience it will
+interest your readers. Naturally, mere oratorical trivialities must not
+be mistaken for striking statements.
+
+When you get back to the office to write up the report of the speech you
+will feel the need of direct quotations--in fact, the length of your
+report will be determined by the number of direct quotations that you
+have to use in it--as well as by editorial dictum. It would be entirely
+wrong to quote any expressions of your own because they are somewhat
+like the speaker's statements, and it is impossible to quote anything
+less than a complete sentence in the report of a speech. Hence you will
+need complete sentences taken down verbatim in the exact words of the
+speaker. Make it a point to get complete sentences as you listen to the
+speech. Whenever a striking statement or an interesting part of the
+speech seems worth putting in your story get it down completely. You
+will find yourself writing most of the time because, while you are
+writing down one important sentence, the speaker will be uttering
+several more in explanation and may say something else of interest
+before you have finished writing down his first statement. Strict
+attention, a quick pencil, and a good memory are needed for this kind of
+work, but the reporting of speeches will lose its terrors after you have
+had a very small amount of practice.
+
+Just as any news story begins with a lead and plays up its most striking
+fact in the first line, the report of a speech usually begins with the
+speaker's most striking or most important statement. As you are
+listening to his words watch for something striking for the
+lead--something that will catch the reader's eye and interest him. But
+you must exercise great care in selecting the statement for the lead.
+Theoretically and practically it must be something in strict accordance
+with the entire content of the speech and, if possible, it should be the
+one statement that sums up the whole speech in the most concise way.
+Somewhere in the discourse, at the beginning, at the end, or in some
+emphatic place, the speaker will usually sum up his complete ideas on
+the subject in a striking, concise way. Watch for this summary and get
+it down for the lead. However, there may be times when this summary,
+though concise, will be of little interest to the average reader and you
+will be forced to use some other striking statement. Then it is
+perfectly permissible to take any striking statement in the speech and
+use it for the lead, provided that the statement is directly connected
+with the rest of the discourse. But be fair to the speaker. Do not play
+up some chance remark as illustrative of the entire utterance; don't
+bring in an aside as the most interesting thing in his speech. If a
+preacher forgets himself to the extent of expressing a chance political
+opinion, it would obviously be unfair to him for you to play up that
+remark as the summary of his sermon. Your readers would get a false
+impression and the preacher would be angry. If he considers the chance
+remark of real importance in his sermon he will back it up with other
+statements that will give you an excuse for using it. In brief, watch
+for the most interesting and most striking statement in the entire
+speech, and in selecting this statement be fair and just and try to
+avoid giving a false impression of the speaker or of the speech. If you
+follow this rule you will never be in any danger of getting your paper
+into difficulties.
+
+Another rule in reporting lectures, speeches, etc., applies to the
+writing of all newspaper stories. Write your report at once while the
+speech is still fresh in your mind. Your report must preserve the logic
+and continuity of the speech--it must be a fair resumé. Your notes will
+be at best mere jottings of chance sentences here and there. Do not
+allow them to get cold and lose their continuity. Write the report at
+once.
+
+                  *       *       *       *       *
+
+The writing of the report of a speech, lecture, or sermon is the same
+whether it is taken from a printed or stenographic copy of the discourse
+or from notes. It is perhaps easier to write from your notes because you
+have the important parts of the speech picked out, ready for use, by the
+aid of the rest of the audience. Before you can resumé a printed copy of
+the speech you must go through it and pick out the important sentences
+which you wish to quote and decide upon the most striking statement for
+the lead. There is no definite rule that can be followed in this except
+to take the topic sentences whenever they are stated with sufficient
+clearness. When you have decided on the statements that you wish to
+quote you have really reduced the speech to a form practically identical
+with the notes taken from verbal utterance, and the writing in either
+case is the same.
+
+The lead of the report is very much like the lead of any other news
+story--for the report of a speech is really a news story. As soon as the
+speech is mentioned, the reader unconsciously asks a number of questions
+about it and the reporter must answer them in the first sentence. As in
+any other news story the questions are: _What?_ _Who?_ _Where?_ _When?_
+and perhaps _How?_ and _Why?_ Reduced to the case of the speech report,
+they amount to what did he say, who said it, where did he say it, when,
+and perhaps how and why did he say it. You may answer the _what_ by
+giving the subject of the discourse or by giving a striking statement in
+it. In every report the answer to some one of the questions is of
+greater interest and must be placed in the first line. If the speaker is
+of more than ordinary prominence his name makes a good beginning. If an
+ordinary person makes a speech at some meeting of prominence the _when_
+or _where_ takes precedence over his name. But in most cases the
+reporter will find that none of these things is of sufficient importance
+for the beginning. Most public utterances that he will be called upon to
+report will be made by ordinary men in ordinary places and at ordinary
+times, and the most interesting part of the story will be what was said.
+Sometimes it suffices to give the title of the speech, but more often a
+striking statement from the speech makes the best beginning. However,
+although the speaker, the time, the place, etc., are overshadowed in
+importance by the subject or content of what the speaker says, they must
+be included in the same sentence with the title or striking statement.
+That is, in short, we catch the reader's interest with a striking
+statement from the speech and then delay the rest of the report while we
+tell who said it, when, where, etc. The necessity of this is obvious.
+
+In accordance with the foregoing there are several possible ways in
+which to begin the lead of the report of any speech. It would be wrong
+to say that any one is more common or better than the others; the choice
+of the beginning must rest with the reporter. And yet there are various
+things to be noted in connection with each of these beginnings.
+
+
+=1. Direct Quotation Beginning.--Sentence.=--The quotation that is to
+have the first line must of course be the most striking or the most
+interesting statement in the speech. If it consists of a single
+sentence--and it cannot be less than a sentence--the report may begin
+thus:
+
+             |  "Participation in government is not    |
+             |only the privilege, but the right, of    |
+             |every American citizen and should be     |
+             |considered a duty," said the Rev.        |
+             |Frederick W. Hamilton, president of Tufts|
+             |College, who spoke on "The Political     |
+             |Duties of the American Citizen" at the   |
+             |monthly men's neighborhood meeting in the|
+             |Roxbury Neighborhood House last          |
+             |night.--_Boston Herald._                 |
+
+Here the reporter has given us a sentence that is practically a summary
+of the speech, has told us who said it, when and where, and has
+completed the paragraph with the title of the speech. Sometimes the
+title of the speech is not of great importance and its place in the lead
+may be given to a little summary as in the following:
+
+             |  "The modern man isn't afraid of hell," |
+             |was the concise explanation which W.     |
+             |Lathrop Meaker gave in Franklin Union    |
+             |Hall yesterday afternoon and evening of  |
+             |the fact that the churches are losing    |
+             |their grip on the average man.--_New York|
+             |Sun._                                    |
+
+A question which embodies the content of a speech may often be quoted at
+the beginning; thus:
+
+             |  "Will the Baptist church continue to   |
+             |maintain an attitude of timidity when    |
+             |John D. Rockefeller of Standard Oil is   |
+             |mentioned?" asked the Rev. R. A. Bateman,|
+             |from East Jaffrey, N. H., of the         |
+             |ministers assembled in Ford Hall last    |
+             |evening at the New England Baptist       |
+             |conference.--_Boston Herald._            |
+
+The opening quotation may sometimes be made an excuse for a brief
+description of the speaker or his gestures as in the following. This is
+good at times but it may easily be overworked or become "yellow" in
+tone.
+
+             |  "There is no fire escape," remarked    |
+             |Gypsy Smith, the famous English          |
+             |evangelist, yesterday before the         |
+             |fashionable audience of the Fifth Avenue |
+             |Baptist Church. He held aloft a Bible as |
+             |he made this declaration during an       |
+             |eloquent sermon on the possibility of    |
+             |losing faith and wandering from the      |
+             |narrow way.--_New York World._           |
+
+
+=2. Direct Quotation Beginning.--Paragraph.=--You notice that in each of
+the foregoing the quoted sentence is incorporated grammatically into the
+first sentence of the lead. It is followed by a comma and the words
+"said Mr. ----," "was the statement of ----," "declared Mr. ----," etc.
+This construction is possible only when the quoted sentence is short and
+simple. When it is long or complex, it is well to paragraph it
+separately and to put the explanations in a separate paragraph, thus:
+
+             |  "If the United States had possessed in |
+             |1898 a single dirigible balloon, even of |
+             |the size of the one now at Fort Myer,    |
+             |Virginia, which cost less than $10,000,  |
+             |the American army and navy would not have|
+             |long remained in doubt of the presence of|
+             |Cervera's fleet in Santiago harbor."     |
+             |                                         |
+             |This statement was made today by Major   |
+             |G. O. Squier, assistant chief signal     |
+             |officer of the army, in an address on    |
+             |aëronautics delivered before the American|
+             |Society of Mechanical Engineers at 29    |
+             |West Thirty-ninth street.--_New York     |
+             | Mail._                                  |
+
+This same construction must _always_ be used when the statement quoted
+in the lead consists of more than one sentence, as in the following:
+
+             |  "The climate of Wisconsin is as good   |
+             |for recovery from tuberculosis as that of|
+             |any state in the union. It is not the    |
+             |climate, but the out-of-doors air that   |
+             |works the cure."                         |
+             |                                         |
+             |So said Harvey Dee Brown in his          |
+             |tuberculosis crusade lecture in Kilbourn |
+             |park last night.--_Milwaukee Free Press._|
+
+It is to be noted that the statement quoted in the lead is never split
+into two parts, separated by explanation. The quotation is always
+gathered together at the beginning and followed by the explanation.
+
+
+=3. Indirect Quotation Beginning.=--This method is best adapted to the
+playing up of a brief resumé of the content of the speech. It is
+sometimes called the "_that_-clause beginning" because it always begins
+with a _that_-clause which is the subject of the principal verb of the
+sentence--"was the statement of," "was the declaration of," etc. The
+_that_-clause may contain a resumé of the entire speech or only the most
+striking statement in it. Here is one of the latter:
+
+             |  That the cruise of the battleship fleet|
+             |around the world has taught the citizens |
+             |of the United States that a powerful     |
+             |fleet is needed in the Pacific was the   |
+             |statement of Rear Admiral R. C. Hollyday,|
+             |chief of the bureau of yards and docks of|
+             |the navy, at a luncheon given to him by  |
+             |the board of trustees of the Chamber of  |
+             |Commerce at the Fairmont Hotel           |
+             |yesterday.--_San Francisco Examiner._    |
+
+It is not always necessary to use the phrase "was the statement of." A
+variation from it is often very good:
+
+             |  That it is the urgent mission of the   |
+             |white people of America, through their   |
+             |churches and Sunday-schools, to educate  |
+             |the American negro morally and           |
+             |religiously, was the sentiment of the    |
+             |twelfth session of the International     |
+             |Sunday-school Convention last night,     |
+             |voiced with special power and eloquence  |
+             |by Dr. Booker T. Washington, the chief   |
+             |speaker of the evening.--_Louisville     |
+             |Courier-Journal._                        |
+
+             |  That the Irish race has a great destiny|
+             |to fulfill, one greater than it has      |
+             |achieved in its glorious past, was the   |
+             |prophecy of Prof. Charles Johnston of    |
+             |Dublin university in his lecture at the  |
+             |city library Sunday                      |
+             |afternoon.--_Wisconsin State Journal._   |
+
+It is perfectly good usage to begin such a lead with two _that_-clauses
+or even with three. The two clauses in this case are of course treated
+as a singular subject and take a singular verb. It is usually best not
+to have more than three clauses at the beginning and even three must be
+handled with great care. Three clauses at the beginning, if at all long,
+bury the speaker's name too deeply and may become too complicated.
+Unless the clauses are very closely related in idea, it is usually
+better not to use more than two. Naturally when more than one
+_that_-clause is used in the lead, all of the clauses must be gathered
+together at the beginning; never should one precede and one follow the
+principal verb. Here is an example of good usage:
+
+             |  NEW YORK, Feb. 25.--That America is    |
+             |entering upon a new era of civic and     |
+             |business rectitude and that this is due  |
+             |to the awakening of the moral conscience |
+             |of the whole people was the prophecy made|
+             |here tonight by Governor Joseph W. Folk  |
+             |of Missouri.--_Chicago Record-Herald._   |
+
+
+=4. Summary Beginning.=--This is a less formal way of treating the
+indirect quotation beginning. It is simply a different grammatical
+construction. Whereas in the _that_-clause beginning the principal verb
+of the sentence is outside the summary (e. g., "That ... was the
+statement of"), in the summary beginning the principal verb of the
+sentence is the verb of the summary and the speaker is brought in by
+means of a modifying phrase; thus:
+
+             |  MINNEAPOLIS, Oct. 1.--Both the free    |
+             |trader and the stand-patter are back     |
+             |numbers, according to Senator Albert J.  |
+             |Beveridge of Indiana, who delivered a    |
+             |tariff speech here tonight.--_Milwaukee  |
+             |Free Press._                             |
+
+             |  Federal control of the capitalization  |
+             |of railroads is the solution of the      |
+             |railroad problem suggested by E. L.      |
+             |Phillipp, the well-known Milwaukee       |
+             |railroad expert, in the course of a      |
+             |speech at the third annual banquet of,   |
+             |etc.--_Milwaukee Free Press._            |
+
+The summary beginning may be handled in many different ways and allows
+perhaps more grammatical liberty than any other beginning. The summary
+may even be given a sentence by itself as in the following. This kind of
+treatment may easily be overdone and should be handled with great
+caution:
+
+             |  If you have acute mania, it is the     |
+             |proper thing to take the music cure. Miss|
+             |Jessie A. Fowler says so, and she knows. |
+             |Miss Fowler discussed "Music             |
+             |Hygienically" before the "Rainy Daisies" |
+             |at the Hotel Astor yesterday and         |
+             |prescribed musical treatment for various |
+             |brands of mania.--_New York World._      |
+
+
+=5. Keynote Beginning.=--Very closely related to the summary beginning
+is the keynote beginning, in which the subject of the main verb is an
+indirect presentation of the content of the speech. Whereas the summary
+beginning displays its resumé in a complete sentence, the keynote
+beginning puts the content of the speech in a single noun and its
+modifiers. Thus:
+
+             |  The ideal state university was the     |
+             |theme of a speech delivered by, etc.     |
+
+             |  The mission of the newspaper to tell   |
+             |the truth, to stand for high ideals, and |
+             |to strive to have those ideals adopted by|
+             |the public was the keynote of an address |
+             |delivered by, etc.                       |
+
+
+=6. Participial Beginning.=--This is less common than the other kinds of
+indirect quotation beginnings but it is often very effective. The
+summary of the speech or the most striking statement is put into a
+participial phrase at the beginning and is made to modify the subject of
+the sentence (the speaker). It must of course be remembered that such a
+participial phrase can be used only to modify a noun, as an adjective
+modifies a noun, and can never be made the subject of a verb. Here is an
+example of good use of this beginning:
+
+             |  Upholding the right of public criticism|
+             |of the courts on the theory that there   |
+             |can be no impropriety in investigating   |
+             |any act of a public official, Judge      |
+             |Kennesaw M. Landis last night addressed  |
+             |the students of Marquette College of Law |
+             |and many members of the Milwaukee        |
+             |bar.--_Milwaukee Free Press._            |
+
+Just as it is perfectly possible to begin an indirect quotation lead
+with two _that_-clauses instead of one, it is also possible to use two
+participial phrases in the participial beginning; as:
+
+             |  Pleading for justice and human         |
+             |affection in dealing with the delinquent |
+             |child, and urging the vital need of      |
+             |legislation which shall enforce parental |
+             |responsibility, Mrs. Nellie Duncan made  |
+             |an address yesterday which stirred the   |
+             |sympathies of an attentive audience in   |
+             |the First Presbyterian Church.--_San     |
+             |Francisco Examiner._                     |
+
+Although the participial phrase usually gives the summary of the speech,
+not infrequently the participial construction is used to play up the
+name of the speech or some other fact and the summary comes after the
+principal verb of the lead; thus:
+
+             |  Paying tribute to the memory of        |
+             |President William McKinley last night at |
+             |the Metropolitan Temple, where exercises |
+             |were held to dedicate the McKinley       |
+             |memorial organ, Judge Taft told in detail|
+             |of his commission to the Philippine      |
+             |service and his subsequent intimate      |
+             |connection with the President.--_New York|
+             |Tribune._                                |
+
+
+=7. Title Beginning.=--There are two reasons for beginning the report of
+a public utterance with the speaker's subject or title. The title itself
+may be so broad that it makes a good summary of the speech, or it may be
+so striking in itself that it attracts interest at once. In the
+following examples the title is really a summary of the speech:
+
+             |  NEW YORK, Dec. 15.--"The Compensation  |
+             |of Employes for Injuries Received While  |
+             |at Work" was taken by J. D. Beck,        |
+             |commissioner of labor of Wisconsin, as   |
+             |the theme of his address before the      |
+             |National Civic Federation here           |
+             |today.--_Milwaukee Free Press._          |
+
+             |  "The Emmanuel Movement" was the subject|
+             |of an address by Rabbi Stephen S. Wise of|
+             |the Free Synagogue yesterday             |
+             |morning.--_New York Evening Post._       |
+
+In the following stories the reporter began with the title evidently
+because it was so strikingly unusual and also because it was the title
+of a strikingly unusual speech by an unusual man. This kind of title
+beginning is always very effective:
+
+             |  "Booze, or Get on the Water Wagon," was|
+             |the subject on which Rev. Billy Sunday,  |
+             |the baseball evangelist, addressed an    |
+             |audience of over 4,000 persons at the    |
+             |Midland Chautauqua yesterday afternoon.  |
+             |For two hours Sunday fired volley after  |
+             |volley at the liquor traffic.--_Des      |
+             |Moines Capital._                         |
+
+             |  "If Christ Came to Milwaukee" was the  |
+             |subject of the Rev. Paul B. Jenkin's     |
+             |Sunday night in Immanuel Presbyterian    |
+             |Church.--_Milwaukee Sentinel._           |
+
+
+=8. Speaker Beginning.=--It is obvious that this is the easiest
+beginning that may be used in the report of a speech. But just as
+obviously it is the beginning that should be least used. Just as in
+writing news stories a green reporter always attempts to begin every
+lead with the name of some person involved, in reporting a public
+discourse he has a strong desire to put the name of the speaker before
+what the speaker said. But the same tests may be applied to both cases.
+Are our readers more interested in what a man does than in the man
+himself; do our readers go to hear a given speaker because they wish to
+hear what he has to say or because they wish to hear _him_? Whenever the
+public is so interested in a man that it does not care what he says,
+then you may feel safe in beginning the report of what he says with his
+name. This test may be altered, especially in smaller cities, by
+previous interest in the speech; if the speech has been expected and
+looked forward to with interest, then, no matter if the speaker is the
+President himself, his name is not as good news as what he has to say.
+Even if the lead does begin with the speaker's name, the reporter
+usually tries to bring a summary of the speech or the most striking
+statement into the first sentence after the name. For example:
+
+             |  Speaker Joseph G. Cannon placed himself|
+             |on record last night in favor of a       |
+             |revision of the tariff in accordance with|
+             |the promise of the Republican party      |
+             |platform and declared that so far as his |
+             |vote was concerned he would see to it    |
+             |that the announced policy of revision    |
+             |would be written in the national laws as |
+             |soon as possible. The words of the       |
+             |speaker came at a luncheon given to six  |
+             |rear admirals of the United States navy  |
+             |by Alexander H. Revell of Chicago in the |
+             |Union League Club, at which the need of  |
+             |more battleships and increased efficiency|
+             |of the fighting forces of the republic   |
+             |were the principal themes of discussion. |
+
+This example was chosen because, while it is written in accordance with
+the rules of the speaker beginning, it is obviously too long and
+complicated--over 110 words. It would be better to gather it together
+and condense it as in the following:
+
+             |  Chief Forester Gifford Pinchot opened  |
+             |the second day's session of the national |
+             |conservation congress yesterday by an    |
+             |address in which he expressed his entire |
+             |satisfaction and his confidence in the   |
+             |attitude of President Taft toward        |
+             |conservating the national                |
+             |resources.--_Milwaukee Sentinel._        |
+
+             |  ST. PAUL, Minn., Feb. 10.--Booker T.   |
+             |Washington of Tuskegee, Ala., in an      |
+             |address at the People's Church tonight   |
+             |predicted that within two years the      |
+             |liquor traffic would be driven out of all|
+             |the southern states but two.--_Milwaukee |
+             |Sentinel._                               |
+
+There are obviously other beginnings that cannot be classed under any of
+the above heads. Some of them, much like the "freak" leads that may be
+seen in many newspapers of the present day, may be called free
+beginnings for want of a better name. These free beginnings are quite
+effective when properly handled but the novice must use them with fear
+and trembling. They may be witty or they may be sarcastic, but they are
+usually dangerous. The difference in the eight beginnings discussed
+above is mainly one of grammatical construction; the same fundamental
+ideas govern them all. Their purpose is always to play up a striking
+statement or a summary of the speech report and to give at the very
+outset the necessary explanation concerning the speech.
+
+
+THE BODY OF THE REPORT
+
+The body of the report of a speech is not so distinct from the lead as
+the body of an ordinary news story. In the news story it is safe to
+assume that many readers will not go beyond the lead, but in the report
+of a speech this is not so true. It is less possible to give the main
+facts in the lead of a speech report and the rest of the story is more
+necessary. Hence it must be written with as great care as the lead.
+
+The body of the report should consist of direct quotation in so far as
+possible. The reader is interested in what the speaker said and it is
+impossible to make a summary in indirect discourse as convincing as the
+actual quotation of his words. Be sure that the quotations are the
+speaker's exact words or very nearly his exact words, so that he cannot
+accuse you of misquoting him. The spirit of his words must be in the
+quotation, anyway.
+
+In these quotations nothing less than a complete sentence should be
+quoted. Do not patch together sentences of indirect and direct
+quotation, like the following--He said that some of us are prone to let
+things be as they are, "because the philanthropic rich help in our times
+of trouble and in sickness." Such quotation is worse than no direct
+quotation at all. Of course, this does not mean that one cannot add
+"said the speaker" to a direct quotation, but it means that "said the
+speaker" can be added only to quotations that are complete sentences.
+Furthermore whenever it is necessary to bring in "said the speaker," or
+similar expressions, they should be added at the end of the quoted
+sentence--the least emphatic part of a newspaper sentence.
+
+Obviously a condensed report of a speech can only quote sentences here
+and there throughout the speech--the high spots of interest, as we
+called them before. These must not be quoted promiscuously and
+disconnectedly. The original speech had a logical order and set forth a
+logical train of thought. These should be followed as far as possible in
+the report. Bring in the quotations in their true order and fill the
+gaps between them with indirect discourse to knit them together and to
+give the report the coherence of the original speech. But do not carry
+this indirect explanation to the extent of making your copy a report of
+the speech in indirect discourse with occasional bits of direct
+quotation to illustrate. Remember that, after all, the direct quotation
+is the truly effective part of the speech.
+
+Whenever a paragraph contains both direct and indirect quotation, the
+direct quotation should always precede the indirect. But it is much
+better to paragraph the two kinds of quotation separately, making each
+paragraph entirely of direct, or entirely of indirect, quotation. If a
+paragraph must contain both, begin it with the direct so that as the
+reader glances down the column he will see a quotation mark at the
+beginnings of most, if not all, of the paragraphs. By the same sign,
+when your notes are lacking in direct quotations, bring in as many of
+the quotations as possible at the beginning of the report and let the
+indirect summary occupy the end where it may be cut off by the editor if
+he does not wish to run it.
+
+Here is a good illustration of a part of the body of a good speech
+report--it is the second paragraph of one of the stories quoted under
+the "Speaker" beginning above:
+
+             |  "I can not account for the moral       |
+             |revolution that is sweeping over the     |
+             |South," he continued. "The sentiment     |
+             |against whisky is deeper than the mere   |
+             |desire to get it away from the black man.|
+             |That same sentiment is found in counties |
+             |that contain no negro population. People |
+             |who say that the law will not be enforced|
+             |have not been in the South.--B. T.       |
+             |Washington's speech, _Milwaukee          |
+             |Sentinel._                               |
+
+You will notice that although the above paragraph is composed entirely
+of direct quotation it has no quotation mark at the end. This is, of
+course, in accordance with the old rule of rhetoric which says that in a
+continuous quotation each paragraph shall begin with a quotation mark
+but only the last shall be closed by a quotation mark.
+
+To illustrate the errors that may be made in reporting speeches we might
+write the above paragraph as follows:
+
+
+             |  Mr. Washington continued by saying that|
+             |he could not account for the revolution  |
+             |that is sweeping over the South. "The    |
+             |sentiment against whisky is deeper than  |
+             |the mere desire to get it away from the  |
+             |black man." He says that "the same       |
+             |sentiment is found in counties that      |
+             |contain no negro population." People who |
+             |say that the law will not be enforced    |
+             |"have not been in the South," according  |
+             |to Booker T. Washington.                 |
+
+The clumsiness of this mingling of direct and indirect quotation is very
+clear, as is the weakness of beginning with an explanation that is
+really subordinate.
+
+Much more could be said about the reporting of speeches. Very few things
+will make a man so angry as the misquoting of his words. Therefore,
+whatever other faults your report of a speech may have, let it be
+accurate and truthful.
+
+
+
+
+XI
+
+INTERVIEWS
+
+
+If you compare any interview story with any speech report in any
+representative newspaper, you will readily see how a discussion of
+interviews easily becomes an explanation of the differences between
+interview stories and speech-reports; that is, how the report of an
+interview differs from the report of a public utterance of a more formal
+kind. There are few differences in the written reports. Each usually
+begins with a summary or a striking statement and consists largely of
+direct quotation. Were it not for the line or two of explanation at the
+end of the introduction, it would be practically impossible to tell the
+one from the other, to tell which of the reports sets forth statements
+made in a public discourse and which gives statements made in a more
+private way to a reporter.
+
+The difference lies behind the report, in the way the reporter obtained
+the statements and quotations. And the whole difference depends upon the
+attitude of the man who made the statements--whether his words were a
+conscious or an unconscious public utterance. When a man speaks from a
+platform he utters every sentence and every word with an idea of
+possible quotation--he is not only willing to be quoted but he wants to
+be quoted. But when he speaks privately to a reporter he usually dreads
+quotation. Of course, he expects that you will print a few of his
+remarks but he is constantly hoping that you will not remember and print
+them all. He speaks more guardedly, too, since he is not sure of the
+interpretation that may be given to his words. Hence it is a very
+different matter to report what a man says in public and to get
+statements for the press from him in private. Any one can report a
+speech but great skill is required to get a good interview--especially
+if the victim is unwilling to talk.
+
+The first matter that a reporter has to consider is the means of
+retaining the statements until he is able to write his story. It is a
+simple matter to get quotations from a speech because it is possible to
+sit anywhere in the audience and write down the speaker's words in a
+notebook as they are uttered. But the notebook must be left behind when
+you try to interview. When a man is not used to being interviewed
+nothing will make him reticent so quickly as the appearance of a
+notebook and pencil; he realizes that his words are to appear in print
+just as he utters them and he immediately becomes frightened. Ordinarily
+so long as he feels that what he says is going into the confidential ear
+of the reporter--and out of the other ear just as quickly--he is willing
+to talk more freely and openly and to say exactly what he thinks. This,
+of course, does not apply to prominent men who are used to being
+interviewed and prefer to have their remarks taken down verbatim. Such
+an interview, however, is little more than a call to secure a statement
+for publication.
+
+It might be well to settle the notebook question here and now when it
+assumes the greatest importance. The stage has hardened us to seeing a
+reporter slinking around the outskirts of every bit of excitement
+writing excitedly and hurriedly in a large leather notebook. So hardened
+are we to the sight that some new reporters buy a notebook just as soon
+as they get a place on a newspaper staff. But real reporters on real
+newspapers do not use notebooks. A few sheets of folded copy paper
+hidden carefully in an inside pocket ready for names and addresses and
+perhaps figures are all that most of them carry. Many people dread
+publicity and the appearance of a notebook frightens them into silence
+more quickly than the actual appearance of a representative of the
+press. This is true in the reporting of any bit of news, in the covering
+of any story--and it is ordinarily true in interviewing for statements
+that are to be quoted. Of course, an exception to this must be made in
+the case of some prominent men who prefer to issue signed written
+statements when they are interviewed.
+
+The impossibility of using a notebook or writing down a man's words in
+an interview seriously complicates the task of interviewing. Some
+reporters train themselves until they are able to remember their
+victim's words long enough to get outside and write them down. Others
+are satisfied with getting the ideas and the spirit of what is said
+together with the man's manner of talking. A few characteristic
+mannerisms thrown in with a true report of his ideas will make any
+speaker believe that you have quoted him exactly. Whichever method is
+pursued, the reporter must always be fair and try to tell the readers of
+the paper the man's true ideas. The exigencies of the case give the
+reporter greater liberty than in quoting from a speech but he must not
+abuse his liberty.
+
+The success of an interview depends very largely upon the way in which a
+reporter approaches the man whom he wishes to interview. It is never
+well to trust to the inspiration of the moment to start the
+conversation. The reporter must know exactly what he wishes to have the
+man say before he approaches him and must already have framed his
+questions so as to draw out the answers that he wishes. People are never
+interviewed except for a purpose and that purpose should suggest the
+reporter's first question. No matter how willing the man is to tell what
+he thinks he will seldom begin talking until the reporter asks him a
+definite question to help him in putting his thoughts into words. All of
+this should be considered beforehand. The reporter should have outlined
+a definite campaign and have a series of questions which he wishes to
+ask. If he has written the questions out beforehand, the task becomes an
+easier one--he merely fills in the answers on his list later and has the
+interview in better form than if he had tried to trust entirely to his
+memory. To be sure, the questions may open up unexpected lines of
+thought and he may get more than he went for, but he must have his
+questions ready for use as soon as each new line is exhausted. A skilled
+reporter frames the interview himself and keeps the result entirely in
+his own hands through the campaign that he has outlined beforehand.
+Unless he knows exactly what he wants to get, a wary victim may lead him
+off upon unimportant facts and in the end tell him nothing that his
+paper has sent him to get. A reporter must keep the reins of an
+interview in his own possession.
+
+A good reporter takes great care in his manner of addressing a man whom
+he is to interview. A well-known newspaper follows the rule of asking
+its reporters never to do what a gentleman would not do. A reporter who
+is trying to interview must always be a gentleman and must not ask
+questions that a gentleman would not ask. If the victim is a prominent
+man of great personality it is not hard to follow this rule--in fact, it
+is impossible to get the interview by any other method of approach. But
+when one is trying to interview a person of humbler station, the case is
+different. It is very easy then to fall into a habit of demanding
+information and turning the interview into an inquisition. But the
+reporter who keeps his attitude as a gentleman gets more real facts even
+when his victim is of the most humble social status. Therefore, never
+approach your victim as if he were a witness and you a cross-questioning
+lawyer. Do not say: "See here, you know more about it than that," and
+thus try to force unwilling information from him. Go at him in a more
+round-about way and lead him to give you the facts unwittingly perhaps.
+
+A young reporter often feels an impulse to become too personal with the
+man whom he is interviewing. He must always remember that he is not
+there for a friendly chat but as a representative of a newspaper, sent
+to get concise facts or opinions. This attitude must be maintained even
+with the humblest persons. Any desire to sympathize, criticize, or
+advise must be checked at the very start. The point of view must always
+be kept.
+
+                  *       *       *       *       *
+
+Although the main difference between writing interview stories and
+reporting speeches lies in the very act of getting the quotations and
+words of the speaker, there are certain aspects in which the writing of
+an interview story is different. The actual form of the two stories is
+almost identical and yet there is a tone in the interview story that is
+lacking in the report of a speech. This may be called the personal tone.
+
+The very name of the speaker obviously plays a much larger part in the
+interview story than in the speech report. We may be more interested in
+what a man says in a public discourse than we are in the man, but when
+we interview a man we want his opinions not for themselves so much as
+because they are his opinions. An interview with the President on the
+tariff is not necessarily interesting in the new ideas that it brings
+out, for we have many other ways of knowing the President's opinions on
+the tariff question; but the interview is worth printing because every
+one is interested in reading anything that the President says, although
+he may have read the same thing many times before. A man is seldom
+interviewed unless he is of some prominence--that is why he is
+interviewed, and so in the resulting story his name plays a very
+important part. In fact, his name is usually the feature of the story;
+most interview stories begin directly with the name of the man whose
+statements are quoted.
+
+Although a man may be interviewed simply because of his prominence and
+popularity, there is usually another reason for the interview. We are
+interested not only in hearing him say something but we wish to hear him
+say something on a certain topic. The interview thus has a timeliness, a
+reason for existence. Since this timeliness is the reason for printing a
+certain man's statements, the reporter's account must indicate that
+timeliness near the beginning. That is, the first sentence of an
+interview story must not only tell who was interviewed and the gist of
+what he said, but it must tell why he said it. The interview must be
+connected with the rest of the day's news. This comes out very
+definitely in the custom which many newspapers have of printing the
+opinions of many prominent men in connection with any important event.
+Perhaps it is because we wish to know their opinions on the subject or
+perhaps it is simply because we are glad to have a chance to hear them
+talk--at any rate many editors make any great event an excuse for a
+series of interviews. This is illustrated by the opinions of the various
+labor leaders that were printed with the story of the recent confession
+of the McNamara brothers. In such a case, the reporter must make the
+reason for the interview his starting point in the report and must
+indicate very plainly why the man was interviewed.
+
+This idea of timeliness is very often carried to the extent of making
+the interview merely a denial or an assertion from the mouth of a
+well-known man. There may be an upheaval in Wall Street. Immediately the
+papers print an interview in which some prominent financier denies or
+asserts that he is at the bottom of the upheaval. Naturally the report
+of the interview begins with the very words of the denial or the
+assertion. Very often a man when interviewed refuses to say anything on
+the subject. The fact that he has nothing to say does not mean that the
+interview is not worth reporting. In fact, that refusal to speak may be
+the most effective thing that he could say. The reporter begins by
+telling that his man had nothing to say on the subject and ends by
+telling what he should have said or what his refusal to speak probably
+means,--if the paper is not too scrupulous in such matters. At any rate,
+the denial or assertion or refusal to speak becomes the starting point
+of the report and furnishes the excuse for the interview story. The
+expanded remarks that follow the lead are of course important but they
+are not so important as the primary expression of opinion that the
+reporter went for.
+
+The personal element in interviewing may be carried to an extreme
+extent. The man who is interviewed may so far overshadow the importance
+of what he says that the report of the interview becomes almost a sketch
+of the man himself. That is, the report is filled with human interest.
+The quotations are interspersed with action and description. We are told
+how the man acted when he said each individual thing. His appearance,
+attitude, expression, and surroundings become as important as his words
+and are brought into the report as vividly as possible. Such an
+interview may become almost large enough to be used as a special feature
+story for the Sunday edition, but when the human interest is limited to
+a comparatively subordinate position the report still keeps its
+character as an interview news story. Such a thing may be illustrated
+from the daily press:
+
+             |  "I would rather have four battleships  |
+             |and need only two than to have two and   |
+             |need four."                              |
+             |                                         |
+             |  Seated in the cool library of Colonel  |
+             |A. K. McClure's summer home at           |
+             |Wallingford, Rear Admiral Winfield Scott |
+             |Schley, retired, thus expressed himself  |
+             |yesterday on the need of a larger and    |
+             |greater navy.                            |
+
+After all has been said about interviewing, the one thing that a
+reporter must remember is that an interview story is at best rather dry
+and everything that he can do to increase the interest will improve the
+interview. But all of this must be done with absolute fairness to the
+speaker and great truthfulness in the quotation of his ideas and
+opinions.
+
+                  *       *       *       *       *
+
+To come to the technical form of the interview story, we find that there
+are very nearly as many possible beginnings as in the case of the report
+of a speech. The interview story must begin with a lead that tells who
+was interviewed, when, and where, what he said (in a quotation or an
+indirect summary), and why he was interviewed. This is like the lead of
+a speech report in every particular except in the timeliness--the
+occasion for a speech is seldom mentioned in the lead, but a reporter
+usually tells at once why he interviewed the man whose words he quotes.
+
+
+=1. Speaker Beginning.=--The very purpose behind interviewing makes the
+so-called speaker beginning most common. It is almost an invariable rule
+that the report of an interview must begin with the man's name unless
+what he says is of greater importance than his name--which is seldom.
+
+The simplest form of the speaker beginning is the one in which the
+speaker's name is followed directly by a summary of what he said, as:
+
+             |  Dr. David Starr Jordan, president of   |
+             |Leland Stanford Junior University, said  |
+             |yesterday at the Holland House that in   |
+             |the development of American universities |
+             |educators must separate the lower two    |
+             |classes from the upper two, the present  |
+             |freshman and sophomore classes to be     |
+             |absorbed by small colleges or            |
+             |supplemental high schools, making the    |
+             |junior year the first in the university  |
+             |training. He said the universities should |
+             |receive only men, not boys.--_New York   |
+             |Tribune._                                |
+
+Another kind of speaker beginning may devote most of the lead to the
+explanation of the reason for the interview, giving the briefest
+possible summary of what was said: Thus:
+
+             |  Director Lang of the department of     |
+             |public safety is going to place a ban on |
+             |the playing of tennis on Sunday. He      |
+             |doesn't know just yet how he is going to |
+             |accomplish this, but yesterday he        |
+             |declared that he would find some law     |
+             |applicable to the case.--_Pittsburgh     |
+             |Gazette-Times._                          |
+
+One step further brings us to the entire exclusion of the result of the
+interview from the lead. In this case the reason for the interview
+occupies the entire lead and we must read part of the second paragraph
+to find what the man said; thus:
+
+             |  Charles F. Washburn, Richmond Hill's   |
+             |wizard of finance, promises to appear at |
+             |his broker's office in Newark, N. J.,    |
+             |this morning with a fresh bank roll,     |
+             |accumulated since the close of the market|
+             |on Saturday.                             |
+             |                                         |
+             |  (The second paragraph tells what it is |
+             |all about and the third quotes his       |
+             |words.)--_New York World._               |
+
+It is to be noted that in each of the above leads the speaker's name is
+always accompanied by a word or two telling who he is and why he was
+interviewed. Furthermore the reporter himself has no more place in the
+lead than if he were reporting a speech--his existence and the part he
+played in getting the interview are strictly ignored.
+
+
+=2. Summary Beginning.=--There are two common ways of beginning an
+interview story with a summary. First, the lead may begin with a
+_that_-clause which embodies the gist of the interview; this is like the
+_that_-clause beginning of the report of a speech; thus:
+
+             |  That the apparent apathy among the     |
+             |voters of the country is merely          |
+             |contentment with the present             |
+             |administration of affairs by the         |
+             |Republican party is the contention of    |
+             |ex-Senator John M. Thurston of Nebraska. |
+             |Mr. Thurston was at Republican national  |
+             |headquarters today, etc.--_New York      |
+             |Evening Post._                           |
+
+Secondly the summary beginning is used in the case of an interview that
+is a denial or an assertion by the man interviewed. The lead begins with
+a clause or a participial phrase embodying the substance of the
+interview, and the name of the speaker is made the subject of a verb of
+denying or asserting; thus:
+
+             |  Declaring that his office is run as    |
+             |economically as possible, Sheriff H. E.  |
+             |Franke denied on Sunday that he had      |
+             |expended more than $688 for auto hire to |
+             |collect $1,409.28 of alleged taxes.      |
+             |                                         |
+             |  (The second paragraph begins with a    |
+             |direct quotation.)--_Milwaukee Sentinel._|
+             |  Although he had sharply criticised     |
+             |Roosevelt's special message condemning   |
+             |some of the uses to which the possessors |
+             |of large fortunes are putting their      |
+             |wealth, President Jacob Gould Schurman,  |
+             |Cornell University, declined to discuss  |
+             |Roosevelt or his policies in Milwaukee   |
+             |yesterday. He said that he was not       |
+             |talking politics.                        |
+             |                                         |
+             |  (The rest of the report is a quotation |
+             |of his views on college                  |
+             |athletics.)--_Milwaukee Free Press._     |
+
+
+=3. Quotation Beginning.=--Many reports of interviews begin with a
+direct quotation. The logic of this is that the expression of opinion
+is, in some cases, of more interest than the name of the man who
+expressed the opinion. Sometimes the name of the speaker is not
+considered worth mentioning and in that case a direct quotation is the
+only advisable beginning; thus:
+
+             |  "With the prices of food for hogs and  |
+             |cattle going up, it is natural that the  |
+             |food--beef and pork--for us humans should|
+             |keep pace."                              |
+             |                                         |
+             |  This was the logic of an east-side     |
+             |butcher who discussed the probable rise  |
+             |in the prices of meat.--_Milwaukee Free  |
+             |Press._                                    |
+
+Sometimes a short quotation is used at the beginning of the lead very
+much as a title is used in a speech report; thus:
+
+             |  NEW YORK, June 1.--"A business         |
+             |proposition which should have been put in|
+             |effect nearly twenty years ago," was John|
+             |Wanamaker's comment today on the adoption|
+             |of 2-cent letter postage between the     |
+             |United States and Great Britain and      |
+             |Ireland.--_Milwaukee Free Press._        |
+
+If the quotation at the beginning consists of only one sentence the name
+of the speaker may be run into the same paragraph; thus:
+
+             |  "Judge McPherson's recent decision     |
+             |declaring Missouri's 2-cent fare         |
+             |confiscatory is an indication that vested|
+             |interests are entitled to some protection|
+             |and that legislatures must not go too far|
+             |in regulating them," said Sir Thomas     |
+             |Shaughnessy, president of the Canadian   |
+             |Pacific road, on Sunday.--_Milwaukee     |
+             |Sentinel._                               |
+
+However if the quotation at the beginning contains more than one
+sentence it is best to paragraph the quotation separately and leave the
+name of the speaker until the second paragraph; thus:
+
+             |  "The American Federation of Labor will |
+             |enter the national campaign by seeking to|
+             |place labor candidates on the tickets of |
+             |the old parties. An independent labor    |
+             |party is eventually contemplated. But    |
+             |there is not time to get results in that |
+             |way in the next national campaign."      |
+             |                                         |
+             |  So said H. C. Raasch, national         |
+             |president of the tile-layers, upon his   |
+             |return yesterday, etc.--_Milwaukee Free  |
+             |Press._                                  |
+
+
+=4. Human Interest Beginning.=--This is a designation devised to cover a
+multitude of beginnings. A human interest interview may begin with a
+quotation, a summary, a name, or an action. The aim is necessarily
+toward unconventionality and the form of the lead is left to the
+originality of the reporter. A few examples may illustrate what is meant
+by the human interest beginning:
+
+             |  "There goes another string. Drat those |
+             |strings!" Only Joseph Caluder didn't say |
+             |"Drat."                                  |
+             |                                         |
+             |  "Say, do you know that I have spent    |
+             |pretty nearly $1,000 for strings for that|
+             |violin? Well, it's a fact. Listen."      |
+             |Etc.--_Milwaukee Sentinel._              |
+
+             |  Fire Marshal James Horan never bought a|
+             |firecracker, but for many years he has   |
+             |celebrated Independence day in the thick |
+             |of fires. He never owned a gun or        |
+             |revolver. His last prayer before trying  |
+             |to snatch a little needed sleep Friday   |
+             |night will be of the twofold form,       |
+             |etc.--_Chicago Post._                    |
+
+After what has been said about the body of a speech report, there is
+little more to be said about the body of an interview story. The same
+rules apply in both cases. The body of the report should contain as much
+direct quotation as possible. However nothing less than a sentence
+should be quoted--that is, every quotation should be a complete
+sentence, with indirect explanation. Whenever "Said the speaker" or "Mr.
+Brown continued" or any similar expression is worked into the direct
+quotation it should always be placed at the end of the sentence; never
+begin a quotation in this way:--Mr. Jones continued, "Furthermore I
+would say, etc." In the same way, when a paragraph contains both direct
+and indirect quotation, the direct quotation should be placed at the
+beginning. Whenever it is possible, construct solid paragraphs of
+quotation, and solid paragraphs of summary. The report as a whole must
+have coherence and a logical sequence; for this a limited amount of
+indirect quotation may be used to fill in the gaps in the logic of the
+direct quotation.
+
+According to the usage of the best newspapers of to-day the reporter
+must never be brought into the report of an interview. His existence
+must never be mentioned although every reader knows that some reporter
+secured the interview. In the old days reporters delighted in bringing
+themselves into their stories as "representatives of the press" or "a
+reporter for the Dispatch," but that practice has gone the way of the
+reporter's leather-bound notebook. The interview may be told
+satisfactorily without a mention of the reporter; hence newspaper usage
+has put a ban on his appearance in his story.
+
+
+GROUP INTERVIEWS
+
+We have said that a man is seldom interviewed without a reason; there is
+always a timeliness in interviewing. Any unusual event of broad
+importance becomes an excuse for the editor to print the opinion of some
+prominent man on some phase of the event. Sometimes the event is of such
+importance that the editor wishes to print the opinions of several men
+on the subject; or more than one prominent man may be involved in the
+affair and the public may wish to hear the opinions of every one
+involved. In such a case when several men are interviewed in regard to
+the same event it is considered rather useless and ineffective to print
+their interviews separately and the several interview stories are
+gathered together into one story and arranged in such a way that they
+may be compared. There are several ways of doing this.
+
+If the case or event is very well known, a lead or summary of the
+several interviews is considered unnecessary and the words of the
+various men are grouped together under a single headline. This may be
+illustrated by the interviews that were printed after the confessions of
+the McNamara brothers of Los Angeles in the recent dynamiting case. The
+_Wisconsin State Journal_ may be taken as representative. This paper
+printed the statements of twelve prominent men interested in the case in
+a three-column box under a long head; thus:
+
+             |        =Leaders Discuss the Case=         |
+             |                                           |
+             |  Samuel Gompers, president American       |
+             |Federation of Labor--I am astounded; I am  |
+             |astounded; my credulity has been imposed   |
+             |upon. It is a bolt out of a clear sky.     |
+             |                                           |
+             |    *       *       *       *       *      |
+             |                                           |
+             |  John T. Smith, president Missouri        |
+             |Federation of Labor--I can not believe it. |
+             |But if the McNamaras blew up the Times     |
+             |building they should be fully punished.    |
+             |                                           |
+             |     *       *       *       *       *     |
+             |                                           |
+             |  Gen. Harrison Grey Otis, publisher of    |
+             |the Times--The result may be and ought to  |
+             |be, etc.                                   |
+
+If the case had not been of such broad interest a lead embodying a
+summary of the interviews might have preceded the individual statements.
+It might have been done in this way:
+
+             |  Great surprise has been expressed by     |
+             |the prominent labor leaders of the         |
+             |country at the confession of the           |
+             |McNamara brothers in Los Angeles           |
+             |yesterday. That organized labor had no     |
+             |connection with the work of these men and  |
+             |that they should be fully punished is the  |
+             |consensus of opinion.                      |
+             |                                           |
+             |  Samuel Gompers, president American       |
+             |Federation of Labor--I am astounded; I am  |
+             |astounded; my credulity has been imposed   |
+             |upon. It is a bolt out of a clear sky.     |
+             |                                           |
+             |  John T. Smith, president Missouri        |
+             |Federation of Labor--I can not believe it. |
+             |Etc.                                       |
+
+In such a story as the above, the statements are usually printed without
+quotation marks; each paragraph begins with a man's name, followed by a
+dash and what he said. The grouping together of several interviews is
+often done less formally. The whole thing may be written as a running
+story, and sometimes the names of the persons interviewed are omitted;
+thus:
+
+             |  Proprietors of the big flower shops,    |
+             |the places from which blossoms are        |
+             |delivered in highly polished and ornate   |
+             |wagons, drawn by horses that might win    |
+             |blue ribbons, and where, in the proper    |
+             |season, a single rose costs three         |
+             |dollars, do not approve of the comments   |
+             |made by a dealer who recently failed.     |
+             |Among these sayings was one to the effect |
+             |that young millionaires spend a thousand  |
+             |dollars a week on flowers for chorus      |
+             |girls who earn twelve dollars a week, and |
+             |who sometimes take the flowers back to    |
+             |the shop to exchange them for money to    |
+             |buy food and clothes.                     |
+             |                                          |
+             |  "That's all nonsense," said one dealer. |
+             |(This paragraph is devoted to his opinion |
+             |on the matter.)                           |
+             |                                          |
+             |  "We have enough trouble in this         |
+             |business," said another dealer, "without  |
+             |having this silly talk given to the       |
+             |public." (This paragraph gives this       |
+             |dealer's opinion)--_New York Evening      |
+             |Post._                                    |
+
+(Each paragraph is devoted to a single interview.)
+
+The same paragraph may be done with more local color as in the
+following:
+
+             |  Chinatown feels deeply its bereavement   |
+             |in the deaths of the Empress Dowager and   |
+             |the Emperor of China. Chinatown mourns,    |
+             |but it does so in such an unobtrusive      |
+             |Oriental way that the casual visitor on    |
+             |sympathy bent may feel that his words of   |
+             |condolence would be misplaced.             |
+             |                                           |
+             |  A reporter from this paper was assigned  |
+             |yesterday to go up to Chinatown and in as  |
+             |delicate a way as possible to gather some  |
+             |of the sentiments of appreciation of the   |
+             |merits of Kuang-hsu and his lamented aunt, |
+             |Tzu-hsi. He was told that he might write a |
+             |little about the picturesque though        |
+             |nevertheless sincere expressions of        |
+             |mourning that he might observe in Pell     |
+             |and Mott streets.                          |
+             |                                           |
+             |  Mr. Jaw Gum, senior partner in the firm  |
+             |of Jaw Gum & Co., importers of cigars,     |
+             |cigarettes, dead duck's eggs and Chinese   |
+             |delicatessen, of 7 Pell street, was at     |
+             |home. Mr. Gum was approached.              |
+             |                                           |
+             |  "We would like to learn a little about   |
+             |the arrangements that are being made by    |
+             |the Chinese to indicate their sorrow at    |
+             |the deaths of their beloved rulers."       |
+             |                                           |
+             |  "What number?" queried Mr. Gum. The      |
+             |question was repeated.                     |
+             |                                           |
+             |  "P'licyman, he know," remarked Mr. Gum   |
+             |sagely.                                    |
+             |                                           |
+             |  (So on for a column with interviews and  |
+             |statements from several of Mr. Gum's       |
+             |neighbors.)--_New York Sun._               |
+
+But this is very much like a human interest story--the reporter takes
+part in it--and we shall discuss that later.
+
+
+
+
+XII
+
+COURT REPORTING
+
+
+Probably few classes of news stories present such a lack of uniformity
+and such a variety of treatments as the reports of court news. Legal
+stories belong to one of the few sorts of stories that do not tend to
+become systematized. But there is a reason for almost everything in a
+newspaper and there is also a reason for the freedom that reporters are
+allowed in reporting testimony. The reason in this case is probably in
+the fact that very rarely do two court stories possess the same sort of
+interest or the same news value.
+
+We have seen that reports of speeches are printed in the daily press
+because our readers are interested in the content of the speech or in
+the man who uttered it. In the same way, our readers are interested in
+interviews because of the man who was interviewed, because of their
+content, or because of their bearing on some current event. On the other
+hand there is an infinite number of reasons why a court story is worth
+printing or why it may not be worth a line. Sometimes the interest is
+in the persons involved; sometimes in the significance of the decision.
+People may also be interested in a case because of its political or
+legal significance or merely because of the sensational testimony that
+is given. And again a very trivial case may be worth a large amount of
+space in the daily paper just because of its human interest--because of
+the pathos or humor that the reporter can bring into it. Thus the
+resulting reports are hard to classify. Each one depends on a different
+factor for its interest and each must be written in a different way so
+that its individual interest may be most effective. However there are
+general tendencies in the reporting of court news.
+
+The news itself is comparatively easy to get. In a large city every
+court is watched every day by a representative of the press, either a
+reporter for an individual paper or for a city news gathering
+association. In some cities where there is no independent news gathering
+agency papers sometimes club together to keep one reporter at each
+court. The man who is on duty must watch all day long for cases that are
+of interest for one reason or another. Even with all this safeguarding
+sometimes an important case slips by the papers; often the reporter on
+duty considers of little interest a case that is worth columns when
+some paper digs into it. Every reporter however who is trying to do
+court reporting should learn the ordinary routine of legal proceedings;
+for example, the place and purpose of the pleas, the direct and cross
+examination of witnesses, and other legal business.
+
+As we shall see when we begin to write court reports, it is necessary to
+exercise every possible trick to put interest into the story. In the
+actual court room all that relieves the dreary monotony of legal
+proceedings is an occasional bit of interesting testimony. And when the
+reporter tries to report a case he sometimes finds that interesting
+testimony is all that will lighten up the dull monotony of his story.
+Therefore while he is listening to a case he tries to get down verbatim
+a large number of the interesting questions and answers. Or if he is
+unable to be present he tries to get hold of the court stenographer's
+record to copy out bits of testimony for his account. Beyond this
+recording of testimony there is really little difficulty in court
+reporting except the difficulty of separating the interesting from the
+great mass of uninteresting matter.
+
+As to the actual writing of the report of a legal trial, the one thing
+that the reporter must remember is that a case is seldom reported for
+the public's interest in the case itself. There is usually some other
+reason why the editor wants a half a column of it. That reason is the
+thing that the reporter must watch for and when he finds it he must make
+it the feature of his report to be embodied in the first line of the
+lead.
+
+When we try to play up the most interesting feature of a court report we
+find that we must fall back upon the same beginnings that we used in
+reporting speeches and interviews. There are several possible ways of
+beginning such a story, depending upon the phase of the case or its
+testimony that is of greatest importance.
+
+
+=1. Name Beginning.=--The proper name beginning is very common. It is
+always used when any one of prominence is involved in the story or when
+the name, although unknown, can be made interesting in itself--as in a
+human interest story. The name is usually made the subject of the verb
+testified, as in this lead:
+
+             |  A. F. Law, secretary of the Temple Iron |
+             |Company, a subsidiary company of the      |
+             |Reading Coal and Iron Company, called     |
+             |before the government investigation of    |
+             |the alleged combination of coal carrying  |
+             |roads, testified today in the Federal     |
+             |building that four roads had contributed  |
+             |$488,000 to make up the deficit of the    |
+             |Temple company during three years of coal |
+             |strikes.--_New York Sun._                 |
+
+The name of a well-known company often makes a good beginning:
+
+             |  The Standard Oil Company sent a         |
+             |sweeping broadside into the Government's  |
+             |case yesterday at the hearing in the suit |
+             |seeking to dissolve the Standard Oil      |
+             |Company of New Jersey under the Sherman   |
+             |anti-trust law, when witnesses began to   |
+             |tell of the character of a number of men  |
+             |the Government had placed upon the        |
+             |witness stand.--_New York Times._         |
+
+The name of the judge himself may be used in the first line:
+
+             |  Judge Mulqueen of General Sessions      |
+             |explained today why he had sentenced two  |
+             |prisoners to "go home and serve time with |
+             |the families." This punishment was        |
+             |imposed yesterday when both men pleaded   |
+             |drunkenness as their excuse for trivial   |
+             |offenses.--_New York Evening Post._       |
+
+
+=2. Continued Case Beginning.=--Many court reports begin with the name
+of the case when the case has been running for some time and is well
+known. Each individual story on such a case is just a continuation of a
+sort of serial story that has been running for some time and in the lead
+each day the reporter tries to summarize the progress that has been
+made in the case during the day's hearing. However each story, like a
+follow-up story, is written in such a way that a knowledge of previous
+stories is not necessary to a clear understanding:
+
+             |  The hearing yesterday in the            |
+             |Government's suit to dissolve the         |
+             |Standard Oil Company ended with a         |
+             |dramatic incident. Mr. Kellogg sought to  |
+             |show that the Standard compelled a widow, |
+             |Mrs. Jones, of Mobile, Ala., to sell out  |
+             |her little oil business at a ruinous      |
+             |sacrifice.--_New York World._             |
+
+In some cases this sort of a lead begins with the mere mention of the
+continuing of the trial:
+
+             |  At the opening of the defence today in  |
+             |the sugar trials before Judge Martin of   |
+             |the United States Circuit Court, James F. |
+             |Bendernagal took the witness chair in his |
+             |own behalf, etc.--_New York Evening       |
+             |Post._                                    |
+
+
+=3. Summary Beginning.=--The lead of a court report often begins with a
+brief summary of the result of the trial or of the day's hearing:
+
+             |  What the Government has characterized  |
+             |as "unfair competition and               |
+             |discrimination" on the part of the       |
+             |Standard Oil Company continued to be the |
+             |subject of the investigation of that     |
+             |corporation today before Franklin Ferris |
+             |of St. Louis, referee, in the Custom     |
+             |House.--_New York Evening Post._         |
+
+The summary may be presented in as formal a way as the _that_-clause
+beginning which we used in reports of speeches:
+
+             |  That the Adams' Express Company's       |
+             |business in New England in 1909 yielded a |
+             |profit representing 45 per cent. on the   |
+             |investment, including real estate and,    |
+             |excepting real estate, a net income of    |
+             |more than 83 per cent., came out in the   |
+             |course of the hearing before the          |
+             |Interstate Commerce Commission,           |
+             |etc.--_New York Evening Post._            |
+
+
+=4. Direct Quotation Beginning.=--A direct quotation of some striking
+statement made by the judge, by a lawyer, by a witness, or by any one
+connected with the trial may be used at the beginning of the lead. Here
+is a lead beginning with a quotation from the title of a case:
+
+             |  "Captain Dick and Captain Lewis,        |
+             |Indians, for and on behalf of the Yokayo  |
+             |tribe of Indians, vs. F. C. Albertson, T. |
+             |J. Weldon, as administrator of the estate |
+             |of Charley, Indian, deceased, Minnehaha,  |
+             |Ollagoola, Hiawatha, Wanahana,            |
+             |Pocahontas, etc."                         |
+             |                                          |
+             |  So runs the title of as unusual a case  |
+             |as jurists, etc.--_San Francisco          |
+             |Examiner._                                |
+
+
+=5. Human Interest Beginning.=--The human interest beginning is a more
+or less free beginning which may be used in the reporting of rather
+insignificant cases which are of value only for the human interest in
+them. The beginning is capable of almost any treatment so long as it
+brings out the humor, beauty, or pathos of the situation. Sometimes the
+story begins with a rather striking summary of the unusual things that
+came out in the testimony, as in this case:
+
+             |  How suddenly and how radically a woman  |
+             |can exercise her inalienable prerogative  |
+             |and change her mind is shown in the       |
+             |testamentary disposition made of her      |
+             |estate by Mrs. Jennie L. Ramsay. She made |
+             |a will on July 4 last, at 3 o'clock in    |
+             |the afternoon, leaving her property to    |
+             |her husband, and at 7 o'clock in the      |
+             |evening of the same day she made another  |
+             |will in which she took the property away  |
+             |from her husband.--_New York Times._      |
+
+Here is an interesting illustration of the use of a trivial incident as
+the basis for a humorous lead:
+
+             |  Bang, an English setter dog, accused of |
+             |biting 11-year-old Sophie Kahn, made an   |
+             |excellent witness in the City Court today |
+             |when his owner, Hirman L. Phelps, a real  |
+             |estate dealer of the Bronx, appeared as   |
+             |defendant in a damage suit brought by the |
+             |girl for $2,000.--_New York Evening       |
+             |Post._                                    |
+
+The lead of a report of legal proceedings is very much like the lead of
+a report of a speech or an interview. It always begins with the most
+interesting fact in the case and briefly summarizes the result of the
+trial or the day's hearing. It is to be noted that the lead of such a
+story always includes a designation of the court in which the hearing
+was held and usually the name of the judge and of the case.
+
+After the lead is finished a court report usually turns into a running
+story of the evidence as it was presented. This may be condensed into a
+paragraph, giving the reader merely the point of the day's hearing, or
+it may be expanded into several columns following the testimony more or
+less closely. In form, it is very much like the summary paragraphs in
+the body of a speech report. The result is usually more or less dry and
+reporters often resort to a means, similar to dialogue in fiction, to
+lighten it up. Some of the more important testimony is given verbatim
+interspersed with indirect summaries of the longer or less important
+speeches. Its presentation usually follows the ordinary rules of
+dialogue. Here is an extract from such a story:
+
+             |  After describing himself as a breeder   |
+             |of horses, Gideon said that he was a      |
+             |member of the Metropolitan Turf           |
+             |Association, the bookmakers'              |
+             |organization, but had never been engaged  |
+             |in bookmaking. He did not know where      |
+             |"Eddie" Burke, "Tim" Sullivan (not the    |
+             |politician), or any of the other missing  |
+             |"bookies" could be found.                 |
+             |                                          |
+             |  "You are a member of the executive      |
+             |committee of the Metropolitan Turf        |
+             |Association?" asked Isidor J. Kresel,     |
+             |assistant counsel of the committee.       |
+             |                                          |
+             |  "Yes."                                  |
+             |                                          |
+             |  "Now, what did your committee do in     |
+             |1908, when the anti-race track legislation|
+             |was pending?"                             |
+             |                                          |
+             |  "I don't know."                         |
+             |                                          |
+             |    *       *       *       *       *     |
+             |                                          |
+             |  "How much did you pay in 1908?"         |
+             |                                          |
+             |  "Two hundred and fifty dollars."        |
+             |                                          |
+             |  "To whom?"                              |
+             |                                          |
+             |  "Mr. Sullivan."                         |
+             |                                          |
+             |  "What for?"                             |
+             |                                          |
+             |  "Death assessments."                    |
+             |                                          |
+             |  Gideon said that the little he knew of  |
+             |the doings of the "Mets" was from         |
+             |conversation with the bookies. Etc.,      |
+             |etc.--_New York Evening Post._            |
+
+Sometimes this direct testimony is given, not in the dialogue form, but
+as questions and answers. Thus:
+
+             |  In reply to other questions,            |
+             |Bendernagel said he ordered the office    |
+             |supplies, looked after the insurance on   |
+             |the sugar, and was responsible for the    |
+             |fuel, some 700 tons of coal a day.        |
+             |                                          |
+             |  Question.--How much money was paid      |
+             |through your office in the course of a    |
+             |year? Answer.--Four million dollars.      |
+             |                                          |
+             |  Q.--So yours was a busy office?         |
+             |  A.--Exceedingly so.                     |
+             |                                          |
+             |  Q.--How long were the raw sugar clerks  |
+             |in your office? A.--About twenty years.   |
+             |Etc., etc.--_New York Evening Post._      |
+
+Some papers would arrange these questions and answers differently,
+paragraphing each speech separately as in dialogue:
+
+             |  Question.--Did you regulate their       |
+             |duties in any way?                        |
+             |                                          |
+             |  Answer.--No.                            |
+             |                                          |
+             |  Q.--Were you connected with the docks?  |
+             |                                          |
+             |  A.--No; that was a separate department. |
+             |It had its own forces, and they worked    |
+             |under Mr. Spitzer. He had entire charge.  |
+             |Etc., etc.                                |
+
+
+The court records take cognizance only of the actual words uttered in
+the testimony, but a newspaper reporter never fails to record any action
+or movement that indicates something beyond the words. Very often action
+is brought in merely for its human interest; thus:
+
+             |  "How long has it been since you have    |
+             |had a maid?" asked Mr. Shearn sadly.      |
+             |                                          |
+             |  "Not for some time," she said. "Away    |
+             |back in 1907, I think."                   |
+             |                                          |
+             |  "What did it cost you for two rooms and |
+             |bath at the Hotel Belmont, where you lived|
+             |last year?"                               |
+             |                                          |
+             |  "About $300 a week altogether. The rooms|
+             |cost $20 a day."                          |
+             |                                          |
+             |  There were tears in her eyes when she   |
+             |explained that she could no longer afford |
+             |to keep up her own automobile. Etc., etc. |
+             |--_Milwaukee Free Press._                 |
+
+This sort of dialogue is dangerous and may easily be overworked, but it
+is very often extremely effective. One word like "sadly," above, may
+convey more meaning than many lines of explanation.
+
+                  *       *       *       *       *
+
+These quotations are usually interspersed with paragraphs which
+summarize the unimportant intervening testimony. The running story
+attempts to follow the progress of the hearing in greater or less
+detail, depending upon the space given to the story, just as a speech
+report attempts to follow a public discourse. Dry and unimportant facts
+are briefly summarized, interesting parts of the testimony are quoted in
+full. The running story is usually written while the hearing is in
+session or taken from a stenographic report of the hearing. After the
+running story has been completed, the reporter prepares a lead for the
+beginning to summarize the results or to play up the most significant
+part of the story. If the running story is short a lead of one paragraph
+is sufficient, but if it is long, the lead may be expanded into several
+paragraphs.
+
+
+
+
+XIII
+
+SOCIAL NEWS AND OBITUARIES
+
+
+The study of newspaper treatment of social news is a broad one. Every
+newspaper has its own system of handling social news and the general
+tendencies that are to be noted deal rather with the facts that are
+printed than with the manner of treatment. Every newspaper gives
+practically the same facts about a wedding but each individual newspaper
+has a method of its own of writing up those facts. One thing that is
+always true of social news reporting is that the amount of space given
+to social items varies inversely with the importance of the newspaper
+and the size of the city in which it is printed. A little country weekly
+or semi-weekly in a small town does not hesitate to run two columns or
+more on Sadie Smith's wedding. The report runs into minute details and
+anecdotes that all of the "Weekly's" readers know before the paper
+arrives. But the editor prints everything he can find or invent simply
+because all of his readers are more or less personally connected with
+the affair and are anxious to see their names in print and to read about
+themselves. The liberty that such an editor gives himself is of course
+impossible in a larger paper.
+
+On the other hand, a daily in a city of average size would reduce such a
+story to a stickful and a metropolitan daily would run only a one-line
+announcement in the "List of marriages," unless the story was especially
+interesting. The same thing applies to all social stories. Some
+metropolitan newspapers do not run social news at all.
+
+All of this is true because social news is governed by the same
+principles that regulate all news values. Unless a society event has
+some feature that is interesting impersonally--that is, of interest to
+readers who do not know the principals of the event--it is of value only
+as a larger or smaller number of the paper's readers are personally
+connected with the event. Hence in a small town where every one knows
+every one else, society news is of great value. In a large city a very
+small proportion of the readers are connected with the social items that
+the paper has to print and are therefore not interested in
+them--accordingly the newspaper either cuts them down to a minimum of
+space or does not run them at all.
+
+Therefore in our study society news falls into two classes: social items
+that are of interest only in themselves to persons connected with the
+events; and big society stories or unusual social events that are of
+interest to readers who are not acquainted with the principals.
+
+
+=1. Weddings.=--The wedding story reduced to its lowest terms in a
+metropolitan paper consists of a one-line announcement in the list of
+"Marriages" or "Marriage Licenses"; thus:
+
+             |  SMITH-JONES--Feb. 14, Katherine Jones   |
+             |to Charles C. Smith.--_New York Times._   |
+
+If the paper runs a few columns of social news and the persons concerned
+in the wedding are of any importance socially, the wedding may be given
+a stickful. Such an account would confine itself entirely to names and
+facts and would be characterized by very decided simplicity and brevity.
+Usually nothing more would be given than the names and address of the
+bride's parents, the bride's first name, the groom's name, the place,
+and the name of the minister who officiated. Occasionally the name of
+the best man and a few other details are added, but never does the story
+become personal. It is interesting only to those who know or know of the
+persons concerned.
+
+For example:
+
+             |                SMITH-JONES               |
+             |                                          |
+             |The marriage of Miss Katherine M. Jones,  |
+             |elder daughter of Mr. and Mrs. Randolph   |
+             |Jones, 253 Ninth street, and Charles C.   |
+             |Smith was celebrated at 4 o'clock         |
+             |yesterday afternoon at the First Methodist|
+             |Church, 736 Grand avenue. Rev. William    |
+             |Brown, rector of the church, performed the|
+             |ceremony.                                 |
+
+It will be noted that in the above story the name of the bride is
+written out in full, "Miss Katherine M. Jones." Many newspapers,
+however, would simply give her first name, thus: "Katherine, elder
+daughter of Mr. and Mrs. Randolph Jones."
+
+If the above wedding were of greater importance more details might be
+given. These would include the attendants, descriptions of the gowns of
+the bride and her attendants, the guests from out of town, music,
+decorations, the reception, and perhaps some of the presents. Sometimes
+the wedding trip and an announcement of when and where the couple will
+be at home are added. The above story might run on into detail something
+like this:
+
+             |  Miss Jones, who was given in marriage   |
+             |by her father, wore a white satin gown    |
+             |trimmed with Venetian point lace, and her |
+             |point lace veil, a family heirloom, was   |
+             |caught with orange blossoms. She carried  |
+             |a bouquet of white sweet peas and lilies  |
+             |of the valley. Miss Dorothy Jones, a      |
+             |sister of the bride, who was maid of      |
+             |honor, wore a gown of green chiffon over  |
+             |satin, with lingerie hat, and carried     |
+             |sweet peas. Douglas Jackson was the best  |
+             |man and the ushers were Dr. John B.       |
+             |Smith, Samuel Smith, Gordon Hunt, Rodney  |
+             |Dexter, Norris Kenny, and Arthur          |
+             |Johnston. A reception followed the        |
+             |ceremony at the home of the bride's       |
+             |parents.                                  |
+
+This is probably as long a story as any average paper would run on any
+wedding, unless the wedding had some striking feature that would make
+the story of interest to readers who did not know the principals. Note
+in the foregoing story the simplicity and impersonal tone. There is a
+wealth of facts but there is no coloring. This tone should characterize
+every society story. A list of out-of-town guests might have been added,
+but as often that would be omitted. In some cases the last sentence
+might be followed by an announcement like this:
+
+             |  The bride and bridegroom have gone on a |
+             |wedding tour of the West; after April 1   |
+             |they will be at home at 76 Kimbark        |
+             |avenue.                                   |
+
+In this connection the young reporter should note the distinctions in
+meaning of the various words used in a wedding story. For instance, he
+should consult the dictionary for the exact use of the verbs "to marry"
+and "to wed"--he should know who "is married," who "is married to," and
+who "is given in marriage," etc. He should also know the difference
+between a "marriage" and a "wedding."
+
+
+=2. Wedding Announcements.=--Wedding announcements are run in the social
+columns of many papers. These items contain practically the same facts
+that we find in the story written after the wedding, except, of course,
+that the reporter cannot dilate on decorations, and must stick to facts.
+These facts usually consist of the names of the couple, the names of the
+bride's parents, and the time and the place of the wedding. Additionally
+the reporter may give the minister's name, the names of the maid of
+honor and of the best man, the reception or breakfast to follow, and
+where the couple will be at home.
+
+             |  The wedding of Miss Gladys Jones and   |
+             |Richard Smith will take place on         |
+             |Wednesday evening in All Angels' Church. |
+             |The bride is a daughter of Mrs. Charles  |
+             |Jones, who will give a bridal supper and |
+             |reception afterward at her home.         |
+
+There are of course many other ways to begin the announcement. "Miss
+Mary E. MacGuire, daughter of, etc."; "Invitations have been issued for
+the wedding of Miss, etc."; "One of the weddings on for Tuesday is that
+of Miss, etc."; "Cards are out for the wedding on Saturday of Miss,
+etc."; and many others. In each case the bride's name has the place of
+importance.
+
+
+=3. Announcements of Engagements.=--Announcements of engagements are
+usually even briefer than wedding announcements. The item consists
+merely of one sentence in which the young lady's mother or parents make
+the announcement with the name of the prospective groom.
+
+             |  Mrs. Russell D. Jones of 45 Ninth      |
+             |street announces the engagement of her   |
+             |daughter, Natalie, to John MacBaine      |
+             |Smith.                                   |
+
+The item may also begin "Mr. and Mrs. X. X. So-and-So announce, etc.,"
+or simply "Announcement is made of the engagement of Miss Stella Blank,
+daughter of, etc."
+
+
+=4. Receptions and Other Entertainments.=--If a paper is to keep up in
+society news, it must report many social entertainments. However, such
+events are treated by large dailies as simply, briefly, and impersonally
+as possible. Such a story, like the report of a wedding, consists merely
+of certain usual facts. The name of the host or hostess, the place, the
+time, and the special entertainments are of course always included.
+Sometimes the occasion for the event, the guests of honor, and a
+description of the decorations are added,--also the names of those who
+assisted the hostess.
+
+             |  Mrs. James Harris Jones gave a          |
+             |reception yesterday at her home, 136      |
+             |Fifth street, for her daughter, Miss      |
+             |Dorothy Jones. In the receiving line were |
+             |Miss Marjorie Smith, Miss, etc. * * The   |
+             |reception was followed by an informal     |
+             |dance.                                    |
+
+If the event is held especially for débutantes, the fact is noted at the
+very start. "A number of débutantes assisted in receiving at a tea given
+by, etc."; "The débutantes of the winter were out in force, etc."
+
+Such a story is usually followed by a list of guests, a list of
+out-of-town guests, a list of subscribers, or something of the sort.
+Ordinarily the list is not tabulated but is run in solid, thus:
+
+             |  The guests were: Miss Kathleen Smith,  |
+             |Miss Georgia Brown, etc.                 |
+
+Very often the names are grouped together, thus:
+
+             |  The guests were: The Misses Kathleen   |
+             |Smith, Georgia Brown; Mesdames Robert R. |
+             |Green, John R. Jones; and the Messrs.    |
+             |George Hamilton, Francis Bragg, etc.     |
+
+The number of variations in such stories is limited only by the
+ingenuity of the people who are giving such entertainments. But in each
+case the reporter learns to give the same facts in much the same order.
+And he gives them in an uncolored, impersonal way that makes the items
+interesting only to those who are directly connected with them. The
+story may vary from a single sentence to half a column, but it always
+begins in the same way and elaborates only the same details. Before
+trying to write up social entertainments, a reporter should always be
+sure of the use of the various words he employs--"chaperon,"
+"patroness," etc. For instance, can we say that "Mr. and Mrs. Smith
+acted as chaperons"?
+
+
+=5. Social Announcements.=--Social announcements of any kind are
+usually, like the wedding and engagement announcements, confined to a
+single sentence. They tell only the name of the host and hostess, the
+name of the guest of honor or the occasion for the event, the time, and
+the place. Thus:
+
+             |  Mrs. Charles P. Jones will give a dance|
+             |this evening at her home, 181 Nineteenth |
+             |street, to introduce her sister, Miss    |
+             |Elsie Holt.                              |
+
+A study of the foregoing sections on society stories shows how
+definitely a reporter is restricted in the facts that he may include in
+his social items--how conventional social stories have become. This very
+restraint in the matter of facts makes it the more necessary for a
+reporter to exercise his originality in the diction of social items. He
+must guard against the use of certain set expressions, like
+"officiating," "performed the ceremony," and "solemnized." While
+restricted in the facts that he may give, he must try to present the
+same old facts in new and interesting ways--he may even resort to a
+moderate use of "fine writing," if he does not become florid or
+frivolous.
+
+
+=6. Unusual Social Stories.=--Just as soon as any of these stories
+contains a feature that is of interest to the general public in an
+impersonal way it leaves the general class of social news and becomes a
+news story to be written with the usual lead. Even the presence of a
+very prominent name will make a news story out of a social item. For
+instance, the wedding of Miss Ethel Barrymore was written by many papers
+as a news story. On the other hand, an unusual marriage, an unusual
+elopement, or anything unusual and interesting in a wedding gives
+occasion for a news story. Here is one:
+
+             |  Because their 15-year-old daughter,    |
+             |Sarah, married a man other than the one  |
+             |they had chosen, who is wealthy, Mr. and |
+             |Mrs. Markovits of 3128 Cedar street have |
+             |gone into deep mourning, draped their    |
+             |home in crepe and announced to their     |
+             |friends that Sarah is                    |
+             |dead.--_Philadelphia Ledger._            |
+
+Or the story may be handled in a more humorous way, thus:
+
+             |  There is really no objection to him,   |
+             |and she is quite a nice young woman, but |
+             |to be married so young, and to go on a   |
+             |wedding journey with $18 in their        |
+             |purses--but Wallace Jones, student of the|
+             |Western University, and Ruth Smith,      |
+             |student in the McKinley High School,     |
+             |decided it was too long a time to wait,  |
+             |and a nice old pastor gentleman in St.   |
+             |Joe has made them one.--_Milwaukee Free  |
+             |Press._                                  |
+
+
+=7. Obituaries.=--Like many other classes of newspaper stories, the
+obituary has developed a conventional form which is followed more or
+less rigidly by all the papers of the land. Every obituary follows the
+same order and tells the same sort of facts about its subject. It begins
+with a brief account of the deceased man's death, runs on through a very
+condensed account of the professional side of his life and ends with the
+announcement of his funeral or a list of his surviving relatives.
+
+The lead is concerned only with his death, answering the usual
+questions about _where_, _how_, and _why_, and is written to stand alone
+if necessary. It ordinarily begins with the man's full name, because of
+course the name is the most important thing in the story, and then tells
+who he was and where he lived. This is followed, perhaps in the same
+sentence, by the time of his death, the cause, and perhaps the
+circumstances. Thus:
+
+             |  CAMBRIDGE, Mass., Nov. 25.--Dr. John H.|
+             |Blank, professor of Greek at Harvard     |
+             |since 1887 and dean of the Graduate      |
+             |School since 1895, died at his home in   |
+             |Quincy street today from heart trouble.  |
+             |Professor Blank was an authority on      |
+             |classical subjects.--_New York Tribune._ |
+
+This, as you see, might stand alone and be complete in itself. Many
+obituaries, however, add another paragraph after the lead in which the
+circumstances of the death are discussed in greater detail. Here is the
+second paragraph of another obituary:
+
+             |  At 8:30 tonight Mr. Blank was walking  |
+             |with his wife on the veranda of the      |
+             |Delmonte Hotel, when he suddenly gasped  |
+             |as if in great pain and fell to the      |
+             |floor. He was carried inside, but was    |
+             |dead before the physicians reached his   |
+             |bedside. Apoplexy is said to have been   |
+             |the cause.                               |
+
+Next comes the account of the deceased man's life. It is told very
+briefly and impersonally and concerns itself chiefly with the events of
+his business or professional activities. It is but a catalogue of his
+achievements and the dates of those achievements. These facts are
+usually obtained from the file of biographies--called the morgue--which
+most newspapers keep. The account first tells when and where he was born
+and perhaps who his parents were. Next his education is briefly
+discussed. Then the chief events of his professional or business life.
+The date of his marriage and the maiden name of his wife are included
+somewhere in or at the end of this account. Usually a list of the
+organizations of which the man was a member and a list of the books
+which he had written are attached to this account. One of the foregoing
+obituaries continues as follows:
+
+             |  He was born in Urumiah, Persia, on     |
+             |February 4, 1852, being the son of the   |
+             |Rev. Austin H. Blank, a missionary. He   |
+             |was graduated from Dartmouth in 1873, and|
+             |that college awarded him the degrees of  |
+             |A. M. in 1876 and LL.D. in 1901. From    |
+             |1876 to 1878 he studied at Leipzig       |
+             |University. He was assistant professor of|
+             |ancient languages at the Ohio            |
+             |Agricultural and Mechanical College from |
+             |1873 to 1876, associate professor of     |
+             |Greek at Dartmouth from 1878 to 1880,    |
+             |and dean of the collegiate board and     |
+             |professor of classical philology at Johns|
+             |Hopkins in 1886 and 1887. In 1906 and    |
+             |1907 he served as professor in the       |
+             |American School of Classical Studies in  |
+             |Athens.                                  |
+             |                                         |
+             |  (Then follows a list of the            |
+             |organizations of which he was a member   |
+             |and the periodicals with which he was    |
+             |connected.)                              |
+             |                                         |
+             |  He married Miss Mary Blank, daughter of|
+             |the president of Blank College, in 1879, |
+             |and she survives him.                    |
+             |--_New York Tribune._                    |
+
+The obituary usually ends with a list of surviving relatives--especially
+children and very often the funeral arrangements are included. This is
+the last paragraph of another obituary:
+
+             |  His first wife, Mary V. Blank, died in |
+             |1872. Three years later he married Mrs.  |
+             |Sarah A. Blank, of Hightstown, N. J., who|
+             |with four daughters, survives him. The   |
+             |funeral will be held tomorrow at 11:30   |
+             |o'clock. The burial will be in the family|
+             |plot in Greenwood Cemetery.              |
+
+This is the standard form of the obituary which is followed by most
+daily newspapers in fair-sized cities. The form is characterized by an
+extreme conciseness and brevity and an absolutely impersonal tone. Very
+rightly, an obituary is handled with a sense of the sanctified
+character of its subject It offers no opportunity for fine writing or
+human interest; it simply gives the facts as briefly and impersonally as
+possible.
+
+
+
+
+XIV
+
+SPORTING NEWS
+
+
+Division of labor on the larger American newspapers has made the
+reporting of athletic and sporting events into a separate department
+under a separate editor. The pink or green sporting sheets of the big
+papers have become separate little newspapers in themselves handled by a
+sporting editor and his staff and entirely devoted to athletic news,
+except when padded out with left-over stories from other pages. Although
+on smaller papers any reporter may be called upon to cover an athletic
+event, in the cities such news is handled entirely by experts who are
+thoroughly acquainted with all phases of the athletic sports about which
+they write. The stories on the pink sheet enjoy the greatest
+unconventionality of form to be seen anywhere in the paper except on the
+editorial page. And yet, because athletic reporters are usually men
+taken from regular reporting and because the same ideas and necessities
+of news values govern the sporting pages, athletic stories follow, in
+general, the usual news story form.
+
+One may expect to find under the head of sports almost any news that is
+any way connected with college, amateur, or professional athletics. The
+stories include accounts of baseball and football games, rowing, horse
+racing, track meets, boxing, and many other forms of sport, as well as
+any discussions or movements growing out of these sports. Many of the
+stories are only a few lines in length while others may cover a column
+or more. But in general each one has a lead which answers the questions
+_when?_ _where?_ _how?_ _who?_ and _why?_ and runs along much like an
+ordinary news story. For, after all, even athletic stories are written
+to attract and to hold the reader's interest whether or not he is
+directly interested in the sport under discussion. Any reporter who is
+called upon to cover an athletic event is safe in writing his story in
+the usual news story form.
+
+As it would be impossible to discuss all the various stories that come
+under the head of athletic news, the reporting of college football games
+will be taken as typical of the others. The rules that are suggested for
+the reporting of football games may be applied to baseball games, track
+meets, and other sporting events. The same principles govern all of
+them and the stories usually summarize results in about the same way.
+Football stories may be divided into three general classes: the brief
+summary story of a stickful or a trifle more; the usual football story
+of a half column or less; and the long story that may be run through a
+column or more, depending upon the importance of the game.
+
+All three of these stories are alike in the general facts which they
+contain; they differ only in the number of minor details which they
+include in the elaboration of these general facts. Each one tells in the
+first sentence what teams were competing, the final score, when and
+where the game was played, and perhaps some striking feature of the
+game--the weather, the conditions of the field, the star players, or a
+sensational score. After that, with more or less expansion, each of the
+stories gives the essential things that the reader wants to know about
+the game. These consist usually of the way in which the scoring was
+done, a comparison of the playing of the teams, a list of the star
+players, the weather conditions, and the crowd. If the writing of the
+story includes a discussion of each of these points in more or less
+detail, the game will be covered in all of its essential phases. The
+three kinds of stories differ, from one another, not in the facts that
+they include, but in the length at which they expand upon these facts.
+One rule should be noted in the writing of all these stories or of any
+athletic story--avoid superlatives. To a green reporter almost every
+game seems to be "the most spectacular," "the most thrilling," "the
+hardest fought," "the most closely matched," but a broad experience is
+necessary to defend the use of any superlative about the game.
+
+
+=1. The Brief Summary Story.=--This is the little story of a stickful or
+less, which merely announces the result of some distant or unimportant
+game. Taken in its shortest form it gives only the names of the teams,
+the score, the time and place of the game, and perhaps a word or two of
+general characterization. As it is allowed to expand in length it takes
+up as briefly as possible the following facts in the order in which they
+are given: the scoring, the comparison of play, the star players or
+plays. It is a mere announcement of the result of the game and no more,
+for that is all the reader wants. The line-ups and other tables are
+usually omitted, and nothing is included that goes beyond this narrow
+purpose. Here are a few examples:
+
+             |  IOWA CITY, Ia., Nov. 25.--Sensational  |
+             |end runs by McGinnis and Curry near the  |
+             |end of the final quarter of play gave    |
+             |Iowa a 6-to-0 victory over Northwestern  |
+             |here this afternoon.                     |
+             |                                         |
+             |  Fort Atkinson High School defeated     |
+             |Madison High today in the final moments  |
+             |of play when a punt by Davy, fullback    |
+             |for Madison, was blocked and the ball    |
+             |recovered behind the line, giving Fort   |
+             |Atkinson the game, 2 to 0.               |
+
+             |  INDIANAPOLIS, June 3.--Indianapolis    |
+             |started its at-home series today by      |
+             |defeating Kansas City, 3 to 2. Robertson |
+             |was in fine form, striking out five men, |
+             |permitting no one to walk and allowing   |
+             |only six hits. Score: (Tables.)          |
+
+             |  LAFAYETTE, Ind., June 1.--With the     |
+             |score 41 1-3 points, athletes            |
+             |representing the University of California|
+             |won the twelfth annual meet of the       |
+             |Western Intercollegiate Athletic         |
+             |Conference Association today.            |
+             |                                         |
+             |Missouri was second with 29 1-3 points,  |
+             |Illinois third with 26, Chicago fourth   |
+             |with 15 and Wisconsin fifth with 12 1-2. |
+
+
+=2. The Usual Football Story.=--The usual report of a game is a story of
+a half column or less which is longer than the brief summary story and
+not so detailed as the long football story. This is the story that a
+correspondent would usually send to his paper. It is like them both in
+the facts that it includes and differs only in length and in manner of
+treatment. This story is usually divided into two parts: the
+introduction and the running account. The introduction, or lead, is
+very much like the brief summary story; in fact, the entire brief
+summary story might be used as the introduction of a story of this type.
+The second part, the running account, corresponds to the running account
+of the game as it will be taken up with the long football story.
+
+The introduction of the usual athletic story always contains certain
+facts. The first sentence, corresponding to the lead of a news story,
+always gives the names of the teams, the score, the time, the place, and
+the most striking feature of the game. After this the plays that
+resulted in scores are described and the star plays or players are
+enumerated. Usually a comparison of the two teams, as to weight, speed,
+and playing, follows, and the opinion of the captain or of some coach
+may be included. The rest of the introduction may be devoted to the
+picturesque side of the game: the crowd, the cheering, the celebration,
+etc. All of this must be told briefly in 200 words or less. The
+introduction is simply the brief summary story slightly expanded. Here
+is a fair example (the paragraph containing the scoring has been
+omitted):
+
+             |  Purdue triumphed over Indiana today, 12|
+             |to 5, recording the first victory for the|
+             |Boilermakers over the Crimson in five    |
+             |years.                                   |
+             |                                         |
+             |  (Omitted paragraph on scoring belongs  |
+             |here.)                                   |
+             |                                         |
+             |  Purdue played a great game at all      |
+             |times Oliphant, right half-back on the   |
+             |Boilermaker eleven, played remarkably    |
+             |well and was the hardest man for the     |
+             |locals to handle. Baugh, Miller, Winston |
+             |and Capt. Tavey also starred for Coach   |
+             |Hoit's men.                              |             |
+             |                                         |
+             |  The Lafayette rooters, 1,500 strong,   |
+             |rushed on the field at the close of the  |
+             |struggle and carried their players off   |
+             |the field.                               |
+
+This is ordinarily followed by a brief running account of the game. It
+does not attempt to follow every play or to trace the course of the ball
+throughout the entire game, as a complete running account would do. It
+is usually made from the detailed running account by a process of
+elimination so that nothing but the "high spots" of the game is left.
+Such an account may run from 200 to 300 words in length. At the end
+tables are usually printed to give the line-up and the tabulated results
+of the game, but these may sometimes be omitted. The following is an
+extract from a condensed running account:
+
+             |  Again the cadets fought their way to   |
+             |the 10-yard line, runs by Rose and       |
+             |Patterson helping materially, but again  |
+             |Wayland held. The half ended after       |
+             |Wayland had kicked out of danger.        |
+             |                                         |
+             |  In the second half St. John's outplayed|
+             |Wayland throughout. The cadets by a      |
+             |succession of line plunges took the ball |
+             |within striking distance several times,  |
+             |only to be held for downs or lose it on a|
+             |fumble.                                  |
+             |                                         |
+             |  Patterson electrified the crowd just   |
+             |before the third quarter ended by twice  |
+             |dodging through for 20-yard runs, placing|
+             |the ball on the 15-yard line, where the  |
+             |cadets were held for downs.              |
+
+
+=3. Long Football Story.=--The third class of football story is the long
+detailed account. This is all that is left of the elaborate write-ups of
+the season's big games that were printed a few years ago and may be seen
+occasionally now. Ten or twenty years ago it was not unusual for an
+editor to run several pages, profusely illustrated, on a big eastern
+football game. The story was written up from every possible
+aspect--athletic, social, picturesque, etc. Every play was described in
+detail and sometimes a graphic diagram of the play was inserted. Each
+phase was handled by a different reporter and the whole thing was given
+a prominence in the paper out of all proportion with its real
+importance. Such a treatment of athletic news has now been very largely
+discarded.
+
+The outgrowth of this elaborate treatment is the common one- or
+two-column account in the pink or green sporting pages. All of the
+various aspects of the big game are still to be seen, condensed to the
+smallest amount of space; and this brief account of the different
+aspects of the game is arranged as an introduction of a half column or
+less to head the running account of the game. This is the sort of story
+that is used to report the Yale-Harvard games and the more important
+middle western games. Its form has become very definitely settled and a
+correspondent can almost write his story of the big game by rule.
+
+The first part of the story, called the introduction, consists of five
+or six general paragraphs. The material in this introduction is
+arranged, paragraph by paragraph, in the order of its importance.
+Following this is a running account of the game which may occupy a
+column or more, depending upon the importance of the contest. At the end
+is a table showing the line-up and a summary of the results.
+
+The introduction of the big football or baseball story usually follows a
+very definite order. There are certain things which it must always
+contain: the result of the game; how the scoring was done; a
+characterization of the playing; the stars; the condition of the weather
+and the field; the crowd; etc. The reader always wishes to know these
+things about the game even if he does not care to read the running
+account. It is equally evident that the scoring is of greater interest
+than the crowd, and that a comparison of the teams is more important
+than the cheering. And so a reporter may almost follow a stereotyped
+outline in writing his account. A possible outline would be something
+like this:
+
+    First Paragraph.--The names of the teams, the score, when and
+      where the game was played, and perhaps some striking feature
+      of the game. The weather may have been a significant factor,
+      or the condition of the field; the crowd may have been
+      exceptionally large or small, enthusiastic or uninterested;
+      or the game may have decided a championship; some star may
+      have been unusually prominent, or the scoring may have been
+      done in an extraordinary way. Any of these factors, if of
+      sufficient significance, would be played up in the first line
+      just as the feature of an ordinary news story is played up.
+      This paragraph corresponds to the lead of a news story and is
+      so written. For example:
+
+             |  Playing ankle-deep in mud before a     |
+             |wildly enthusiastic gathering of football|
+             |rooters, the gridiron warriors of Siwash |
+             |College defeated the Tigers this         |
+             |afternoon on Siwash athletic field by the|
+             |score of 5 to 0.                         |
+
+    Second Paragraph.--Here the reporter usually tells how the
+      scoring was done, what players made the scores, and how.
+
+    Third Paragraph.--The next thing of importance is a comparison
+      of the two teams. The reader wants to know how they compared
+      in weight, speed, and skill, and how each one rose to the
+      fight. A general characterization of the playing or a
+      criticism may not be out of place here.
+
+    Fourth Paragraph.--Now we are ready to tell about the individual
+      players. Our readers want to know who the stars were and how
+      they starred.
+
+    Fifth Paragraph.--This brings us down near the tag end of the
+      introduction. Very often this paragraph is devoted to the
+      opinions of the captains and coaches on the game. Their
+      statements, if significant, may be boxed and run anywhere in
+      the report.
+
+    Sixth Paragraph.--The picturesque and social side of the game
+      comes in here. The size of the crowd, the enthusiasm, the
+      celebration between halves or before or after the game, are
+      usually told. This material may be of enough importance to
+      occupy several paragraphs, but the reporter must always
+      remember that he is writing a sporting account and not a
+      picturesque description of a social event.
+
+    Seventh Paragraph.--This paragraph usually begins the running
+      account of the game.
+
+                            *       *       *
+
+    N-th Paragraph.--This space at the end of the entire report is
+      given to the line-ups and tabulated results of the game.
+
+This arrangement may of course be varied, and any of the foregoing
+factors of the game may be of sufficient importance to be placed earlier
+in the story. Never, however, should the various factors be mixed
+together heterogeneously and written in a confused mass. Each element
+must be taken up separately and occupy a paragraph by itself.
+
+The running account of the game, which follows the introduction,
+requires little rhetorical skill. Each play is described in its proper
+place and order and should be so clear that a reader could make a
+diagram of the game from it. It must also be accurate in names and
+distances as well as in plays.
+
+Probably every individual sporting correspondent has a different way of
+distinguishing the players and the plays and of writing his running
+account. It is not an easy matter to watch a game from the press stand
+far up in the bleachers and be able to tell who has the ball in each
+play and how many yards were gained or lost. Familiarity with the teams
+and the individual players makes the task easier but few reporters are
+so favored by circumstances. They must get the names from the cheering
+or from other reporters about them unless they have some method of their
+own.
+
+There is one method that may be followed with some success. Before the
+game the reporter equips himself with a table of the players showing
+them in their respective places as the two teams line up. It is usually
+impossible to tell who has the ball during any single play because the
+eye cannot follow the rapid passing, but it is always possible to tell
+who has the ball when it is downed. At the end of each play as the
+players line up, the reporter keeps his eye on the man who had the ball
+when it was downed and watches to see the position he takes in the new
+line-up. Then a glance at the table will tell him the man's name.
+
+The running account is written as simply and briefly as possible. It
+follows each play, telling what play was made, who had the ball, and
+what the result was. It keeps a record of all the time taken out, the
+changes in players, the injuries, etc. A typical running account reads
+something like this:
+
+             |  Siwash advanced the ball two yards by a|
+             |line plunge. Kelley carried the ball     |
+             |around left end for five yards to the    |
+             |Tigers' 50-yard line. The Tigers gained  |
+             |the ball on a fumble after a fake punt   |
+             |and lined up on their own 45-yard line.  |
+             |Time called. Score at end of first half, |
+             |0 to 0.                                  |
+
+At the end of the running account are tables, usually set in smaller
+type, giving the line-up of the two teams and the tabulated results of
+the game. Some papers arrange the tables as follows:
+
+             |Siwash:                         Tigers:  |
+             |                                         |
+             |Smith...........left end.......Jones     |
+             |                                         |
+             |Brown.........left tackle......Green-Wood|
+             |                                         |
+             |McCarthy.......left guard......Connor    |
+             |                                         |
+             |Hall (Capt.).....centre........Jacobs    |
+             |                                         |
+             |Etc.                                     |
+
+Other papers use this system which brings the opposing players together:
+
+             |Siwash:                         Tigers:  |
+             |                                         |
+             |l. e........Smith : Williams.......r. e. |
+             |                                         |
+             |l. t........Brown : Jackson........r. t. |
+             |                                         |
+             |l. g.....McCarthy : Cook (Capt.)...r. g. |
+             |                                         |
+             |c....(Capt.) Hall : Jacobs............c. |
+             |                                         |
+             |Etc.                                     |
+
+The tabulated results at the end may be something like this:
+
+             |Score by periods:                        |
+             |                                         |
+             |Tigers....................0  2  1  3--6  |
+             |                                         |
+             |Siwash....................0  0  0  0--0  |
+             |                                         |
+             |Touchdown--Brown. Goal from touchdown--  |
+             |O'Brien. Umpire--Enslley, Purdue.        |
+             |Referee--Holt, Lehigh. Field             |
+             |judge--Hackensaa, Chicago. Head          |
+             |linesman--Seymour, Delaware. Time of     |
+             |periods--fifteen minutes.                |
+
+Dispatches and stories on baseball games and track meets are usually
+accompanied by tables of results, similar to the above but arranged in a
+slightly different way. The form may be learned from any reputable
+sporting sheet.
+
+
+
+
+XV
+
+HUMAN INTEREST STORIES
+
+
+In our study of newspaper writing up to this point we have been entirely
+concerned with forms, rules, and formulas; every kind of story which we
+have studied has had a definite form which we have been charged to
+follow. We have been commanded always to put the gist of the story in
+the first sentence and to answer the reader's customary questions in the
+same breath. Now we have come to a class of newspaper stories in which
+we are given absolute freedom from conventional formulas. In fact, the
+human interest story is different from other newspaper stories largely
+because of its lack of forms and rules. It does not begin with the gist
+of its news--perhaps because it rarely has any real news--and it answers
+no customary questions in the first paragraph; its method is the natural
+order of narrative. The human interest story stands alone as the only
+literary attempt in the entire newspaper and, as such, a discussion of
+it can hardly tell more than what it is, without any great attempt to
+tell how to write it. For our purposes, the distinguishing marks of the
+human interest story are its lack of real news value and of conventional
+form, and its appeal to human emotions.
+
+The human interest story has grown out of a number of causes. Up to a
+very recent time newspapers have been content with printing news in its
+barest possible form--facts and nothing but facts. Their appeal has been
+only to the brain. But gradually editors have come to realize that, if
+many monthly magazines can exist on a diet of fiction that appeals only
+to the emotions, a newspaper may well make use of some of the material
+for true stories of emotion that comes to its office. They have realized
+that newsiness is not the only essential, that a story does not always
+have to possess true news value to be worth printing--it may be
+interesting because it appeals to the reader's sympathy or simply
+because it entertains him. Hence they began to print stories that had
+little value as news but, however trivial their subject, were so well
+written that they presented the humor and pathos of everyday life in a
+very entertaining way. The sensational newspapers took advantage of the
+opportunity but they shocked their readers in that they tried to appeal
+to the emotions through the kind of facts that they printed, rather
+than through the presentation of the facts. They did not see that the
+effectiveness of the emotional appeal depends upon the way in which a
+human interest story is written, rather than upon the story itself.
+Therefore they shocked their readers with extremely pathetic facts
+presented in the usual newspaper way, while the journals which stood for
+high literary excellence were able to handle trivial human interest
+material very effectively. Now all the newspapers of the land have
+learned the form and are printing effective human interest stories
+every day.
+
+Another reason behind the growth of the human interest story is the
+curse of cynicism which newspaper work imprints upon so many of its
+followers. Every editor knows that no ordinary reporter can work a
+police court or hospital run day after day for any length of time
+without losing his sensibilities and becoming hardened to the sterner
+facts in human life. Misfortune and bitterness become so common to him
+that he no longer looks upon them as misfortune and misery, but just as
+news. Gradually his stories lose all sympathy and kindliness and he
+writes of suffering men as of so many wooden ten-pins. When he has
+reached this attitude of cynicism, his usefulness to his paper is almost
+gone, for a reporter must always see and write the news from the
+reader's sympathetic point of view. To keep their reporters'
+sensibilities awake editors have tried various expedients which have
+been more or less successful. One of these is the "up-lift run" for cub
+reporters--a round of philanthropic news sources to teach them the
+business of reporting before they become cynical. Another is the human
+interest story. If a reporter knows that his paper is always ready and
+glad to print human interest stories full of kindliness and human
+sympathy, he is ever on the watch for human interest subjects and
+consequently forces himself to see things in a sympathetic way. Thus he
+unconsciously wards off cynicism. The search for human interest material
+is a modification of the "sob squad" work of the sensational papers, on
+more delicate lines.
+
+A human interest story is primarily an attempt to portray human
+feeling--to talk about men as men and not as names or things. It is an
+attempt to look upon life with sympathetic human eyes and to put living
+people into the reports of the day's news. If a man falls and breaks his
+neck, a bald recital of the facts deals with him only as an animal or an
+inanimate name. The fact is interesting as one item in the list of human
+misfortunes, but no more. And yet there are many people to whom this
+man's accident is more than an interesting incident--it is a very
+serious matter, perhaps a calamity. To his family he was everything in
+the world; more than a mere means of support, he was a living human
+being whom they loved. The bald report of his death does not consider
+them; it does not consider the man's own previous existence. But if we
+could get into the hearts of his wife and his mother and his children,
+we could feel something of the real significance of the accident. This
+is what the human interest story tries to do. It does not necessarily
+strive for any effect, pathetic or otherwise, but tries simply to treat
+the victim of the misfortune as a human being. The reporter endeavors to
+see what in the story made people cry and then tries to reproduce it. In
+the same way in another minor occurrence, he attempts to reproduce the
+side of an incident that made people laugh. Either incident may or may
+not have had news value in its baldest aspect, but the sympathetic
+treatment makes the resulting human interest story worth printing.
+
+There are various kinds of human interest stories. The common ground in
+them all is usually their lack of any intrinsic news value. Many a
+successful human interest story has been printed although it contained
+no one of the elements of news values that were outlined earlier in this
+book. In fact, one of the uses of the human interest story is to
+utilize newspaper by-products that have no news value in themselves.
+Hence the human interest story has no news feature to be played up and,
+since it does not contain any real news, it does not have to answer any
+customary questions. In form it is much like a short story of fiction,
+since it depends on style and the ordinary rules of narration. The
+absence of a lead, more than any other characteristic, distinguishes the
+human interest story from the news story, in form. We have worked hard
+to learn to play up the gist of the news in our news stories; now we
+come to a story which makes no attempt to play up its news--in fact, it
+may leave its most interesting content until the end and spring it as a
+surprise in the last line. To be sure, most human interest stories have
+and indicate a timeliness. The story may have no news value but it is
+always concerned with a recent event and usually tells at the outset
+when the event occurred. Almost without exception, the examples quoted
+in this chapter show their timeliness by telling in the first sentence
+when the event occurred. So much for the outward form of the human
+interest story.
+
+
+=1. Pathetic Story.=--One of the many kinds of human interest stories is
+the pathetic story. Although it does not openly strive for pathos, it is
+pathetic in that it tells the story of a human misfortune, simply and
+clearly, with all the details that made the incident sad. It is the
+story that attempts to put the reader into the very reality of the pain
+and sorrow of every human life. Sometimes it makes him cry, sometimes it
+makes him shudder, and sometimes it disgusts him, but it always shows
+him misfortune as it really is. It looks down behind the outward actions
+and words into the hearts of its actors and shows us motives and
+feelings rather than facts. But just as soon as any attempt at pathos
+becomes evident, the story loses its effectiveness. Its only means are
+clear perception and absolute truthfulness. Here is an example of a
+pathetic human interest story taken from a daily paper:
+
+             |  Rissa Sachs' child mind yesterday        |
+             |evolved a tragic answer to the question,   |
+             |"What shall be done with the children of   |
+             |divorced parents?"                         |
+             |                                           |
+             |  She took her life.                       |
+             |                                           |
+             |  Rissa was 14 years old. The divorce      |
+             |decree that robbed her of a home was less  |
+             |than a week old. It was granted to her     |
+             |mother, Mrs. Mellisa Sachs, by Judge       |
+             |Brentano last Saturday.                    |
+             |                                           |
+             |  When the divorce case was called for     |
+             |trial Rissa found that she would be        |
+             |compelled to testify. Reluctantly she      |
+             |corroborated her mother's story that her   |
+             |father, Benjamin Sachs, had struck Mrs.    |
+             |Sachs. It was largely due to this          |
+             |testimony that the decree was granted and  |
+             |the custody of the child awarded to Mrs.   |
+             |Sachs.                                     |
+             |                                           |
+             |  Then the troubles of the girl began in   |
+             |real earnest. She loved her mother dearly. |
+             |But her father, who had been a companion   |
+             |to her as well as a parent, was equally    |
+             |dear to her.                               |
+             |                                           |
+             |  Both parents pleaded with her. Mrs.      |
+             |Sachs told Rissa she could not live        |
+             |without her. The father told the girl, in  |
+             |a conversation in a downtown hotel several |
+             |days ago, that he would disown her unless  |
+             |she went to live with him.                 |
+             |                                           |
+             |  Every hour increased the perplexities of |
+             |the situation for the child. She could not |
+             |decide to give up either of her parents    |
+             |for fear of offending the other. So she    |
+             |sacrificed her own life and gave up both.  |
+             |                                           |
+             |  Thursday evening, on returning from      |
+             |school to the Sachs home at 4529 Racine    |
+             |avenue, Rissa talked long and earnestly    |
+             |with her mother. Then she retired to her   |
+             |room, turned on the gas and, clothed, lay  |
+             |down upon her bed to await death and       |
+             |relief from troubles that have driven      |
+             |older heads to despair.                    |
+             |                                           |
+             |  At the inquest yesterday afternoon the   |
+             |grief-stricken mother told the story of    |
+             |her daughter's difficulties. She said that |
+             |Rissa had declared she could not live if   |
+             |compelled to give up either of her         |
+             |parents, but added that she never had      |
+             |believed it.--_Chicago Record-Herald._     |
+
+This is a pathetic human interest story in that it attempts to give the
+human significance of an incident which in itself would have little news
+value. Perhaps, in the matter of words, there is a slight straining for
+pathos. The form, it will be noted, is decidedly different from that of
+a news story on the same incident and, although the timeliness is given
+in the first line, there is no attempt to present the gist of the story
+in a formal lead. The source of the news is indicated in the last
+paragraph.
+
+
+=2. Humorous Story.=--Another kind of human interest story is the
+humorous story. Its humor, like the pathos of a pathetic story, does not
+come from an attempt to be funny, but from the truthful presentation of
+a humorous incident, from the incongruity and ludicrousness of the
+incident itself. The writer tries to see what elements in a given
+incident made him laugh and then portrays them so clearly and truthfully
+that his readers cannot help laughing with him. The subject may be the
+most trivial thing in the world, not worth a line as a news story, and
+yet it may be told in such a way that it is worth a half-column write-up
+that will stand out as the gem of the whole edition. But after all the
+effectiveness depends upon the humor in the original subject and the
+truthfulness of the telling. The following humorous human interest
+story, which occupied a place on the front page, was built up out of an
+incident almost devoid of news value:
+
+             |  One of Johnnie Wilt's original ideas     |
+             |for entertaining his twin sister           |
+             |Charlotte is to build a big bonfire on     |
+             |the floor of their playroom.               |
+             |                                           |
+             |  Johnnie, who is 4 years old, carried his |
+             |plan into execution at the Wilt home, 2474 |
+             |Lake View avenue, for the first time       |
+             |yesterday afternoon, with results that     |
+             |made a lasting impression upon his mind    |
+             |and the finishings of the interior of the  |
+             |house.                                     |
+             |                                           |
+             |  The thing was suggested to him by a      |
+             |bonfire he saw a man build in the street.  |
+             |Charlotte hadn't seen the other fire. For  |
+             |some reason Charlotte's feminine mind      |
+             |refused to understand just what the fire   |
+             |was like.                                  |
+             |                                           |
+             |  Consequently nothing remained for        |
+             |Johnnie to do but build a fire of his own. |
+             |He piled all of the newspapers and         |
+             |playthings that could be found in the      |
+             |middle of the room and then applied a      |
+             |match.                                     |
+             |                                           |
+             |  When the flames leaped to the ceiling,   |
+             |however, and a cloud of smoke filled the   |
+             |room, Johnnie began to doubt the wisdom of |
+             |the move. While Charlotte ran to tell a    |
+             |maid he retreated to that haven of         |
+             |youthful fugitives--the space beneath a    |
+             |couch.                                     |
+             |                                           |
+             |  The frightened maid summoned the fire    |
+             |engines and the fire was soon              |
+             |extinguished. But Mrs. Wilt discovered     |
+             |that Johnnie had disappeared. She          |
+             |telephoned to Charles T. Wilt, president   |
+             |of the trunk company that bears his name,  |
+             |and half hysterically told of the fire and |
+             |the disappearance of Johnnie.              |
+             |                                           |
+             |  Just then there was a scrambling sound   |
+             |from beneath the couch. Johnnie, looking   |
+             |as serious as a 4-year-old face can look,  |
+             |walked out.                                |
+             |                                           |
+             |  Mrs. Wilt seized him and, to an          |
+             |accompaniment of "I-won't-do-it-agains,"   |
+             |crushed him to her bosom. Last reports     |
+             |from the Wilt home were that Johnnie had   |
+             |not yet been punished for his              |
+             |deed.--_Chicago Record-Herald._            |
+
+The student will notice how all the facts of the story and the answers
+to the reader's questions are worked in here and there, how the content
+of a news story lead is scattered throughout the entire account.
+
+
+=3. Writing the Human Interest Story.=--It is one thing to be able to
+distinguish material for a human interest story and another to be able
+to write the story. The whole effectiveness of the story, as we have
+seen, depends upon the way it is written. Many a poorly written,
+ungrammatical news story is printed simply because it contains facts
+that are of interest, regardless of the way in which they are presented.
+But never is a poorly written human interest story printed; simply
+because the facts in it have little interest themselves and the story's
+usefulness depends entirely upon the presentation of the facts. Hence,
+the human interest story, more than any other newspaper story, must be
+well written. And yet there are no rules to assist in the writing of
+such a story. In fact, its very nature depends upon originality and
+newness in form and treatment.
+
+In the first place, we cannot fall back upon the conventional lead for a
+beginning, because a lead would be out of place. As we have said before,
+the human interest story does not begin with a lead for the reason that
+it has no striking news content to present in the lead. In many cases
+the whole story depends upon cleverly arranged suspense; if the content
+is given in a lead at the beginning suspense is of course impossible.
+The human interest story has no more need of a lead than does a short
+story--in some ways a human interest story is very much like a short
+story--and a short story that gives its climax in the first paragraph
+would hardly be written or read. But, just like the short story, a human
+interest story must begin in an attractive way. In the study of short
+story writing almost half of the study is devoted to learning how to
+begin the story, on the theory that the reader is some sort of a
+fugitive animal that must be lassoed by an attractive and interesting
+beginning. The theory is of course a true one and it holds good in the
+case of human interest stories.
+
+But no rules can be laid down to govern the beginning of human interest
+or short stories. Each story must begin in its own way--and each must
+begin in a different way. Some writers of short stories begin with
+dialogue, others with a clean-cut witticism, others with attractive
+explanation or description, others with a clever apology. The list is
+endless. This endless list is ready for the reporter who is trying to
+write human interest stories. But the choosing must be his own. He must
+select the beginning that seems best adapted to his story. As an
+inspiration to reporters who are trying to write human interest stories,
+a few beginnings clipped from daily papers are given here. Some are good
+and some are bad; the goodness or badness in each case depends upon
+individual taste. They can hardly be classified in more than a general
+way for originality is opposed to all classifications. They are merely
+suggestions.
+
+A striking quotation or a bit of apt dialogue is commonly used to
+attract attention to a story. Here are some examples:
+
+             |  "Burglars," whispered Mrs. Vermilye to  |
+             |herself and she took another furtive peek |
+             |out of the windows of her rooms on the    |
+             |sixth floor of the, etc.                  |
+
+             |  "Speaking of peanuts," observed the man |
+             |with the red whiskers, "they ain't the    |
+             |only thing in the world what is small."   |
+             |Etc.                                      |
+
+             |  "Ales, Wines, Liquors and Cigars!" You  |
+             |see this sign in the windows of every     |
+             |corner life-saving station. But what      |
+             |would you say if you saw it blazing over  |
+             |the entrance to the Colony Club, that     |
+             |rendezvous for the little and big sisters |
+             |of the rich at Madison avenue and         |
+             |Thirtieth street? Etc.                    |
+
+             +------------------------------------------+
+             |WANTED--Bright educated lady as secretary |
+             |to business man touring northwest states  |
+             |and Alaska: give reference, ability; age, |
+             |description. Address E-640, care Bee.     |
+             |                                          |
+             |                             (7)-680 19x. |
+             +------------------------------------------+
+             |  The above innocent appearing want ad in |
+             |_The Bee_, although alluring in its       |
+             |prospects to a young woman desiring a     |
+             |summer vacation, is the principal factor  |
+             |in the arrest of one M. W. Williams, etc. |
+
+A well-written first sentence in a human interest story often purports
+to tell the whole story, like a news story lead, and really tells only
+enough to make you want to read further. Here are a few examples:
+
+             |  His son's suspicions and a can opener   |
+             |convinced Andrew Sherrer last Saturday    |
+             |that he had been fleeced out of $500 by   |
+             |two clever manipulators of an ancient     |
+             |"get-something-for-nothing" swindle. So   |
+             |strong was the victim's confidence, etc.  |
+
+             |  There's a stubborn, unlaid ghost, a     |
+             |gnome, a goblin, a swart fairy at the     |
+             |least, who has settled down for the       |
+             |winter in a perfectly respectable cellar  |
+             |over in Brooklyn and whiles away the      |
+             |dismal hours of the night by chopping     |
+             |spectral cordwood with a phantom axe.     |
+             |Instead of going to board with Mrs.       |
+             |Pepper or another medium and being of     |
+             |some use in the world and having a        |
+             |pleasant, dim-lighted cabinet all its     |
+             |own, this unhappy ghost--or ghostess--is  |
+             |pestering Marciana Rose of 1496 Bergen    |
+             |street, who owns the cellar and the house |
+             |over it--over both the ghost and the      |
+             |cellar. Etc.                              |
+
+             |  The gowk who calls up 3732 Rector today |
+             |will get a splinter in his finger if he   |
+             |scratches his head. Nothing doing with    |
+             |3732 Rector. From early morn till dewy    |
+             |eve Mr. Fish, Mr. C. Horse, Mr. Bass, Mr. |
+             |Skate and other inmates of the aquarium   |
+             |will be inaccessible by 'phone. Etc.      |
+
+             |  Under all the saffron banners and the   |
+             |sprawling dragons clawing at red suns     |
+             |over the roofs of Chinatown yesterday     |
+             |there was a tension of unrest and of      |
+             |speculation. It all had to do with the    |
+             |luncheon to be given to his Imperial      |
+             |Highness Prince Tsai Tao and the members  |
+             |of his staff at the Tuxedo Restaurant, 2  |
+             |Doyers street, at noon to-morrow. Etc.    |
+
+             |  Man and wife, sitting side by side as   |
+             |pupils, was the interesting spectacle     |
+             |which provided the feature of the         |
+             |elementary night school opening last      |
+             |night. Etc.                               |
+
+             |  Two young Germans of Berlin, neither    |
+             |quite 18 years of age, had a perfectly    |
+             |uncorking time aboard the White Star      |
+             |liner Majestic, in yesterday. They were   |
+             |favorites with the smoke-room stewards.   |
+             |They learned later that man is born unto  |
+             |trouble as the corks fly upward. Etc.     |
+
+             |  It was a long black overcoat with a     |
+             |velvet collar, big cuffed sleeves, and    |
+             |broad of shoulder, and looked decidedly   |
+             |warm and comfy. It stood in one of the    |
+             |large display windows of ----, and        |
+             |covered the deficiencies of a waxy dummy, |
+             |who stared in a surprised sort of manner  |
+             |out into the street and appeared to be    |
+             |looking at nothing. Etc.                  |
+
+             |  The bellboys put him up to it and then  |
+             |Marcus caused a lot of trouble. Marcus is |
+             |a parrot who has been spending the winter |
+             |in one of the large Broadway hotels. Etc. |
+
+             |  Lame, old, but uncomplaining,           |
+             |remembering only his joy when a visitor   |
+             |came to him, and forgetting to be bitter  |
+             |because of the wrongs done him, meeting   |
+             |his rescuer with a wag of the tail meant  |
+             |to be joyful, a St. Bernard dog set an    |
+             |example, etc.                             |
+
+Some human interest stories begin, and effectively, too, with a direct
+personal appeal to the reader; thus:
+
+             |  If you've never seen anybody laugh with |
+             |his hands, you should have eased yourself |
+             |up against a railing at the Barnum and    |
+             |Bailey circus in Madison Square Garden    |
+             |yesterday afternoon and watched a band of |
+             |250 deaf mute youngsters, all bedecked in |
+             |their bestest, signalling all over the    |
+             |Garden. Etc.                              |
+
+             |  If you've ever sat in the enemy's camp  |
+             |when the Blue eleven lunged its last yard |
+             |for a touchdown and had your hair ruffled |
+             |by the roar that swept across the         |
+             |gridiron, you can guess how 1,500 Yale    |
+             |men yelled at the Waldorf last night for  |
+             |Bill Taft of '78. Etc.                    |
+
+A question is often used at the beginning of a human interest story:
+
+             |  A near-suicide or an accident. Which?   |
+             |Keeper Bean is somewhat puzzled to say    |
+             |which, but it is quite certain it will    |
+             |not be tried again. At least, Keeper Bean |
+             |does not think it will.                   |
+             |                                          |
+             |  But, it was a sad, sad Sunday for the   |
+             |little white-faced monkey. For hours he   |
+             |lay as dead, etc.                         |
+
+Many of these stories, animal or otherwise, begin with a name:
+
+             |  Long Tom, a Brahma rooster that had     |
+             |been the "bad inmate" of Jacob Meister's  |
+             |farm at West Meyersville, N. J., for      |
+             |three years, paid the penalty of his      |
+             |crimes Christmas morning when he was      |
+             |beheaded after his owner had condemned    |
+             |him to death. Bad in life, he was good in |
+             |a potpie that day, etc.                   |
+
+The beginning of a human interest story is always the most important
+part; just like a news story, it must attract attention with its first
+line. In the same way, a good beginning is something more than half
+done. But here the similarity between the two ends. The news story,
+after the lead is written, may slump in technique so that the end is
+almost devoid of interest; the human interest story, on the other hand,
+must keep up its standard of excellence to the very last sentence and
+the last line must have as much snap as the first. It is never in danger
+of losing its last paragraph and so it may be more rounded and complete;
+it must follow a definite plan to the very end and then stop. In this it
+is like the short story, although it seldom has a plot. There are no
+rules to help us in writing any part of the human interest story. Each
+attempt has a different purpose and must be done in a different way. Yet
+the reporter must know before he begins just exactly how he is going to
+work out the whole story. He must plan it as carefully as a short
+story. A few minutes of careful thought before he begins to write are
+better than much reworking and alteration after the thing is done. This
+applies to all newspaper writing.
+
+Much of the effectiveness of the human interest story depends upon the
+reporter's style. When we try to write human interest stories we are no
+longer interested in facts, as much as in words. Our readers are not
+following us to be informed, but to be entertained. And we can please
+them only by our style and the fineness of our perception. Although we
+have been told to write news stories in the common every-day words of
+conversation, we are not so limited in the human interest story. The
+elegance of our style depends very largely upon the size of our
+vocabulary, and elegance is not out of place in this kind of story.
+Although we have been told to use dialogue sparingly in news stories,
+our human interest story may be composed entirely of dialogue. In fact,
+we are hampered by no restrictions except the restrictions of English
+grammar and literary composition. Although we have sought simplicity of
+expression before, we may now strive for subtlety and for effect; we may
+write suggestively and even obscurely. We are dealing with the only part
+of the newspaper that makes any effort toward literary excellence and
+only our originality and cleverness can guide us.
+
+It is hardly necessary to repeat that one cannot write human interest
+stories in a cynical tone. They are a reaction against cynicism. They
+require one to feel keenly, as a human being, and to write
+sympathetically, as a human being. The reporter must see behind the
+facts and get the personal side of the matter--and feel it. Then he must
+tell the story just as he sees and feels it. Absolute truthfulness in
+the telling is as necessary as keen perception in the seeing. Humor must
+be sought through the simple, truthful presentation of an incongruous or
+humorous idea or situation; pathos must be sought by the truthful
+presentation of a pathetic picture. Just as soon as the reporter tries
+to be funny or to be pathetic he fails, for the reader is not looking to
+the reporter for fun or pathos--but to the story that the reporter is
+telling. That is, the story must be written objectively; the writer must
+forget himself in his attempt to impress the story upon his reader's
+mind. If the story itself is fundamentally humorous or sad and the story
+is clearly and truthfully told with all the details that make it
+humorous or sad, it cannot help being effective.
+
+The best way to learn how to write human interest stories is to study
+human interest stories. Most papers print them nowadays--they can easily
+be distinguished by their lack of news value, and of a lead--and the
+finest example is just as likely to crop out in a little weekly as in a
+metropolitan daily.
+
+
+=4. The Animal Story.=--The examples printed earlier in this chapter are
+specimens of the truest type of human interest story because they deal
+with human beings. They derive their joy or sorrow from things that
+happen to men and women. But all the sketches that are classed as human
+interest stories are not so carefully confined to the limits of the
+title. From the original human interest story the type has grown until
+it includes many other things--almost any piece of copy that has no
+intrinsic news value. Every possible subject that may suit itself to a
+pathetic or humorous treatment and thus be interesting, although it has
+no news value, is roughly classed as a human interest story.
+
+One of these outgrowths of the true human interest sketch is the animal
+story. In the large cities, the "zoo" and the parks have become a
+fruitful source of "news." Anything interesting that may happen to the
+monkeys, or the elephant, the sparrows or the squirrels in the parks,
+horses or dogs in the street, is used as the excuse for a human interest
+story. Sometimes the purpose is pathos and sometimes it is humor, but,
+whatever it may be, if it is clever and interesting it gets its place in
+the paper, a place entirely out of proportion to its true news value.
+The results sometimes verge very close upon nature faking, but after all
+they are only the result of the "up-lift" idea of looking at all life in
+a more sympathetic way. Several of the beginnings quoted earlier in this
+chapter belong to animal stories and the following is a complete one:
+
+             |  Smithy Kain was only a mongrel,          |
+             |horsemen will say, but in his equine       |
+             |heart there coursed the blood of           |
+             |thoroughbreds.                             |
+             |                                           |
+             |  Smithy Kain was killed yesterday         |
+             |afternoon, shot through the head, while    |
+             |thousands of Wisconsin fair patrons looked |
+             |on in shuddering sympathy.                 |
+             |                                           |
+             |  It was a tragedy of the track.           |
+             |                                           |
+             |  Owners, trainers and drivers always are  |
+             |quick to declare that no greater courage   |
+             |is known than that possessed and           |
+             |demonstrated by race horses in hard-fought |
+             |battles on the turf, and the truth of this |
+             |was never more strikingly brought home     |
+             |than in the death of Smithy Kain           |
+             |yesterday.                                 |
+             |                                           |
+             |  With a left hind foot snapped at the     |
+             |fetlock, Smithy Kain raced around the      |
+             |track, his valiant spirit and unfaltering  |
+             |gameness keeping him up until he had       |
+             |completed the course in unwavering pursuit |
+             |of the flying horses in front. Every jump  |
+             |meant intense agony, but he would not      |
+             |quit. Not until near the finish did his    |
+             |strength give out, and not until then was  |
+             |the pitiable truth discovered. Men used to |
+             |exhibitions of gameness in tests that try  |
+             |the soul looked on in mute admiration as   |
+             |Smithy Kain shivered and stumbled from the |
+             |pain that rapidly sapped his life. Women   |
+             |cried openly.                              |
+             |                                           |
+             |  Two shots from the pistol of a park      |
+             |policeman ended the life and sufferings of |
+             |the horse that was only a mongrel, but     |
+             |who, in his equine way, was a thoroughbred |
+             |of thoroughbreds.                          |
+             |                                           |
+             |  Smithy Kain gave to his master the best  |
+             |that his animal mind and soul possessed.   |
+             |No better memorial can be written even of  |
+             |man himself.                               |
+
+
+=5. The Special Feature Story.=--One step beyond the animal story is the
+special feature story. This kind of story is classed with the human
+interest story because it has no news value and because its only purpose
+is to entertain or to inform in a general way; and yet it rarely
+contains any human interest. There is no space in this book for a
+complete discussion of the special feature story--an entire volume might
+be devoted to the subject--but this form of story is often seen in the
+news columns of the daily papers and deserves a mention here. Ordinarily
+the special feature story is not written by reporters, although there is
+no reason why reporters should not use in this way many of the facts
+that come to them. The story usually comes from outside the newspaper
+office, from a contributor, from a syndicate, or from some other daily,
+weekly, or monthly publication; however a word or two here may suggest
+to the reporter the possibility of adding to his usefulness by writing
+such stories for his paper.
+
+The special feature story may be almost anything. The name is used to
+designate timely magazine articles, timely write-ups for the Sunday
+edition, and timely squibs for the columns of the daily papers. The last
+use is the one that interests us and it interests us because it is very
+closely related to the human interest story. The editors usually call it
+a feature story because it is worth printing in spite of the fact that
+it has no news value. In this and in its timeliness it is like the human
+interest story. But it is not written for humor or pathos; its purpose
+is to entertain the reader. Its method is largely expository and its
+style may be anything; it may explain or it may simply comment in a
+witty way. The utilizing of otherwise useless by-products of the news is
+its purpose--in this it is very much like the animal story.
+
+Subjects for feature stories may come from anywhere and may be almost
+anything. A very common kind of feature story is the weather story that
+many newspapers print every day. The weather is taken as the excuse for
+two or three stickfuls of print which explain and comment upon weather
+conditions, past, present and future. Growing out of this, there is the
+season story which deals with any subject that the season may suggest:
+the closing of Coney Island, the spring styles in men's hats, the first
+fur overcoat, Commencement presents, Easter eggs--anything in season.
+Further removed from the human interest story is the timely write-up
+which has no other purpose than to explain, in a more or less serious or
+sensible way, any interesting subject that comes to hand. The story
+purports not only to entertain but to inform as well. It has no news
+value and yet it is usually timely. Here are a few subjects selected at
+random from the daily papers: "He'll pay no tax on cake," explaining in
+a humorous way the customs methods that held up the importation of an
+Italian Christmas cake; "Clearing House for Brains," a description of
+the new employment bureau of the Princeton Club of New York; "Ideal man
+picked by the Barnard girl," a humorous resumé of some Barnard College
+class statistics; "Winning a Varsity Letter," telling what a varsity
+letter stands for, how it is won, and what the customs of the various
+colleges in regard to letters are; "Jerry Moore raises a record corn
+crop," telling how a fifteen-year-old boy won prizes with a little patch
+of corn.
+
+These are just a few suggestions to open up to the reporter the vast
+field for special feature articles. To be sure, many of them are
+submitted by outsiders, but there is no reason why a reporter should not
+write these stories as well as human interest stories for his paper,
+since he is in the best position to get the material. Whenever a special
+feature story becomes too large for the daily edition there is always a
+possibility of selling it to the Sunday section or to a monthly
+magazine. The writing of special feature stories is directly in line
+with the reporter's work, because the ordinary method of gathering facts
+for a feature article and arranging them in an interesting, newsy way
+follows closely the method by which a reporter covers and writes a news
+story. Hence almost without exception the most successful magazine
+feature writers are, or have been, newspaper reporters.
+
+
+
+
+XVI
+
+DRAMATIC REPORTING
+
+
+Dramatic reporting is one of the most misused of the newspaper
+reporter's activities. To many reporters, as well as to their editors,
+it is just an easy way of getting free admission to the theater in
+return for a half column of copy. Hence it is treated in an unjustly
+trivial way; the reports of theatrical productions are printed most
+often as space fillers or as a small advertisement in return for free
+tickets. But after all the work is an important one and should be done
+only by skillful and expert hands. Dramatic reporting is included in
+this book, not because it is thought possible to give the subject an
+adequate treatment, but because theatrical reporting is a branch of the
+newspaper trade that may fall to the hands of the youngest reporter. In
+mere justice to the stage the reporter who writes up a play should know
+something about the real significance of what he is doing. It is much
+easier to tell the beginner what not to do than to tell him exactly
+what to do. The faults in dramatic reporting are far more evident than
+the virtues; and yet there are some positive things that may be said on
+the subject.
+
+The first important question in the whole matter is "Who does dramatic
+reporting?" One would like to answer, "Skilled critics of broad
+knowledge and experience." But unfortunately almost anybody does it--any
+one about the office who is willing to give up his evening to go to the
+theater. To be sure, many metropolitan papers employ skilled critics to
+write their dramatic copy and run the theatrical news over the critic's
+name. Some editors of smaller papers have the decency to do the work
+themselves. But in most cases the work is given to an ordinary
+reporter--and not infrequently to the greenest reporter on the staff.
+Worse than that, the work is seldom given to the same reporter
+continuously, but is passed around among all the members of the staff.
+Even a green cub may learn by experience how to report plays, but if the
+work falls to him only once a month his training is very meager. It
+would seem in these days of much discussion of the theater that editors
+would realize the power which they have over the stage through their
+favorable or unfavorable criticism. But they do not, perhaps because
+they know little about the stage, and the appeal must be made to their
+reporters. Every reporter, except upon the largest papers, has the
+opportunity sooner or later to give his opinion on a play. In
+anticipation of that opportunity these few words of advice are offered.
+
+The first requisite in dramatic criticism is a background of knowledge
+of the drama and the stage. To children, and to some grown people, too,
+the stage is a little dream world of absolute realities. Their
+imaginations turn the picture that is placed before them into real,
+throbbing life. They do not see the unreality of the art, the suggestive
+effects, the flimsy delusions; to them the play is real life, the stage
+is a real drawing room or a real wood, and they cannot conceive of the
+actors existing outside their parts. But the critic must look deeper; he
+must understand the machinery that produces the effects and he must
+weigh the success of the effects. He must get behind the play and see
+the actors outside the cast and the stage without its scenery; the
+dramatic art must be to him a highly technical profession. For this
+reason, he must know something about dramatic technique; he must have
+some background of knowledge. He must study the theater from every point
+of view, from an orchestra seat, from behind the scenes, from a peekhole
+in the playwright's study, and from the pages of stage history. All the
+tricks and effects must be evident to him. The only thing that will
+teach him this is constant, intelligent theater-going. He must be
+familiar with all of the plays of the season and with all of the
+prominent plays of all seasons. A child cannot criticize the first play
+that he sees because he has nothing with which to compare it. In the
+same way a reporter cannot justly judge any kind of play until he has
+seen another of the same kind with which to compare it. Hence he must
+know many plays and must know something about the history of the
+theater. Dramatic criticism is relative and the critic must have a basis
+for his comparison.
+
+This background of knowledge may seem a difficult thing to acquire. It
+is; and it can best be acquired by watching many plays with an eye for
+the technique of the art. The critic may judge a play from its effect
+upon him, but his judgment will be superficial. He must try to see what
+the playwright is trying to do, how well he succeeds, what tricks he
+employs. He must judge the work of the stage carpenter and of the
+costumer. He must try to realize what problem the leading lady has to
+face and how well she solves it. The same carefulness of judgment must
+be given to each member of the cast. Only when the critic is able to see
+past the footlights and to understand the technique of the art, can he
+judge intelligently. And as his judgment can be at best only relative,
+he must have a background of many plays and much stage knowledge upon
+which to base his estimate of any one production.
+
+The ideal criticism, based upon this background of knowledge, would be
+absolutely fair and unprejudiced. But unfortunately this ideal cannot
+always be followed. Much dramatic criticism is colored by the policy of
+the paper that prints it. Very few critics are so fortunate as to be
+able to say exactly what they think about a play; they must say what the
+editor wants them to say. Some theatrical copy, especially write-ups of
+vaudeville shows, is paid for and must contain nothing but praise.
+Sometimes it is necessary to praise the poorest production simply
+because the paper is receiving so much a column for the praise. In many
+other cases, when the copy is not paid for, the editor often considers
+it only fair to give the production a little puff in return for the free
+press tickets. And so a large share of any reporter's dramatic criticism
+is reduced to selecting things that he can praise. Yet, one cannot
+praise in a way that is too evident; he cannot simply say "The play was
+good; the staging was good; the acting was good; in fact, everything was
+good." He must praise more cleverly and give his copy the appearance of
+honest criticism. Perhaps the principle is wrong, but nevertheless it
+exists and happy is the dramatic critic whose paper allows him to say
+exactly what he thinks. However, whether one may say what he thinks or
+must say what his editor wants him to say, he must have as his
+background a thorough knowledge of the stage upon which he may base a
+comparison or a contrast and with which he may make intelligent
+statements. The following illustrates what may be done with a paid
+report of a mediocre vaudeville show in which every act must be
+praised--the report was written on Monday of a week's run and is
+intended to induce people to see the show:
+
+             |  This week's bill at ---- Vaudeville     |
+             |Theatre is dashed onto the boards by a    |
+             |very exciting act, "The Flying Martins,"  |
+             |whose thrilling tricks put the audience   |
+             |in a proper state of mind for the         |
+             |sparkling and laughable program that      |
+             |follows--a state of mind that keeps its   |
+             |high pitch without a break or let-down to |
+             |the very end of Dr. Herman's              |
+             |side-splitting electrical pranks. This    |
+             |man, who has truly "tamed electricity,"   |
+             |does many remarkable things with his big  |
+             |coils and high voltage currents and plays |
+             |many extremely funny tricks upon his row  |
+             |of "unsuspecting-handsome" young          |
+             |volunteers.                               |
+             |                                          |
+             |  The musical little playlet, "The Barn   |
+             |Dance," is very jokingly carried off by   |
+             |its Jack-of-all-Trades, "Zeke," the       |
+             |constable, and its pretty little ensemble |
+             |song, "I'll Build a Nest for You." Many a |
+             |young husband can get pointers on "home   |
+             |rule" from "Baseballitis;" it is a mighty |
+             |good presentation of the "My Hero" theme  |
+             |in actual life. Hilda Hawthorne gives us  |
+             |some high-class ventriloquism with a good |
+             |puppet song that is truly wonderful.      |
+             |There's a lot of good music, very good    |
+             |music in the sketch executed by "The      |
+             |Three Vagrants," as well as a lot of fun; |
+             |one can hardly realize what an amount of  |
+             |melody an old accordion contains. Audrey  |
+             |Pringle and George Whiting have a hit     |
+             |that is sparkling with quick changes from |
+             |Irish love songs to bull frog croaking    |
+             |with Italian variations.                  |
+
+For the purpose of a more complete study of the subject, however, we
+shall consider only dramatic criticism that is not restricted by
+editorial dictum or by the requirements of paid-space. That is, we shall
+imagine that we can praise or condemn or say anything we please
+concerning the dramatic production which we are to report. When we look
+at the subject in this way there are some positive things that may be
+said about theatrical reporting, but there are many more negative rules,
+that may be reduced to mere "Don'ts." The same principles hold good in
+dramatic criticism that is hampered by policy, but to a less degree.
+
+In the first place, the one thing that a dramatic reporter must have
+when he begins to write his copy after the performance is some positive
+idea about the play, some definite criticism, upon which to base his
+whole report. It is impossible to write a coherent report from chance
+jottings and to confine the report to saying "This was good; that was
+bad, the other was mediocre." The critic must have a positive central
+idea upon which to hang his criticism. This central idea plays the same
+part in his report as the feature in a news story--it is the feature of
+his report which he brings into the first sentence, to which he attaches
+every item, and with which he ends his report. To secure this idea, the
+reporter must watch the play closely with the purpose of crystallizing
+his judgment in a single conception, thought, or impression. Sometimes
+this impression comes as an inspiration, sometimes it is the result of
+hard thought during or after the play. It may be concerned with the
+theme of the play, the playwright's work, the lines, the staging, the
+effects, the tricks, the acting as a whole, the acting of single
+persons, the music, the dancing, the costumes--anything connected with
+the production--but the idea must be big enough to carry the entire
+report and to be the gist of what the critic has to say about the play.
+It must be his complete, concise opinion of the performance.
+
+When, as the critic watches the play, some idea comes to him for his
+report he should jot it down. As the play progresses he should develop
+this idea and watch for details that carry it out. There is no reason to
+be ashamed of taking notes in the theater and the notes will prove very
+useful at the office afterward. Perhaps after the play is over the
+critic finds that his jottings contain another idea that is of greater
+importance than the first; then he may incorporate the second into the
+first or discard the first altogether. Even after one has crystallized
+his judgment into a concise opinion he must elaborate and illustrate it
+and the program of the play is always of value in enabling one to refer
+definitely to the individual actors, characters, and other persons, by
+name. But, however complete the final judgment and the notes may be, it
+is always well to write the report immediately. When one leaves the
+theater his mind is teeming with things to say about the play, thousands
+of them, but after a night's sleep it is doubtful if a single full-grown
+idea will remain and the jottings will be absolutely lifeless and
+unsuggestive.
+
+This is the positive instruction that may be given to young dramatic
+critics. It is so important and is unknown to so many young theatrical
+reporters, that it may be well to sum it up again. A dramatic criticism
+must be coherent; it must be unified. It must be the embodiment of a
+single idea about the play and every detail in the report must be
+attached to that idea. It is not sufficient to state the idea in a
+clever way; it must be expanded and elaborated with examples and reasons
+and must show careful thought. It is well to outline the report before
+it is written and to arrange a logical sequence of thought so that the
+result may be well-rounded and coherent.
+
+The following is an example of a dramatic criticism in which this course
+is followed. It neither praises nor condemns but it points out gently
+wherein the play is strong or weak--and every sentence is attached to
+one central idea:
+
+
+             |           A POLITE LITTLE PLAY.          |
+             |                                          |
+             |  Never raise your voice, my dear Gerald. |
+             |That is the only thing left to            |
+             |distinguish us from the lower classes.    |
+             |_Lord Wynlea in "The Best People"._       |
+
+             |  The new comedy at the Lyric Theatre is  |
+             |written in accordance with Lord Wynlea's  |
+             |dictum quoted above. It is mannerly, well |
+             |poised, ingratiating and deft. As a minor |
+             |effort in the high comedy style it is     |
+             |welcome, because it affords a respite     |
+             |from the "plays with a punch" and the     |
+             |prevalent boisterous specimens of the     |
+             |work of yeomen who go at the art of       |
+             |dramatic writing with main strength.      |
+             |                                          |
+             |  "The Best People" is by Frederick       |
+             |Lonsdale and Frank Curzen, who manifestly |
+             |know some of them. It was done at         |
+             |Wyndham's Theatre in London, and we think |
+             |that in a comfortable English playhouse,  |
+             |with tea between acts and leisurely       |
+             |persons with whom to visit in the foyer,  |
+             |it would make an agreeable matinee.       |
+             |Certainly it is admirably acted here, and,|
+             |as has been intimated, its quiet drollery |
+             |and its polite maneuvering make it a      |
+             |relief.                                   |
+             |                                          |
+             |  Whether American audiences, used to     |
+             |stronger fare than tea at the theatre,    |
+             |will find it sustaining is a question that|
+             |would seem to be answered by the          |
+             |announcement, just received from the      |
+             |Lyric, that the engagement closes next    |
+             |Saturday evening.                         |
+             |                                          |
+             |  The fable relates how the Honorable Mrs.|
+             |Bayle discovered that her husband and Lady|
+             |Ensworth had been flirting with peril     |
+             |during her absence in Egypt, how she      |
+             |blithely threw them much together, with   |
+             |the result that they grew intensely weary |
+             |of each other, and how at last everybody  |
+             |concerned was happily and sensibly        |
+             |reconciled.                               |
+             |                                          |
+             |  The spirit of the piece is sane and     |
+             |"nice," the decoration of it whimsical and|
+             |graceful.                                 |
+             |                                          |
+             |  Miss Lucille Watson, embodying the      |
+             |spirit of witty mischief, gives a very    |
+             |fine performance of the part of Mrs.      |
+             |Bayle, a "smart," good woman, and Miss    |
+             |Ruth Shepley is excellent in byplay and   |
+             |flutter as a silly, good woman.           |
+             |                                          |
+             |  Cyril Scott is graceful and vigorous as |
+             |a philandering husband, Dallas Anderson   |
+             |comical as a London clubman with a keener |
+             |relish in life than he is willing to      |
+             |betray, and William McVey wise, paternal  |
+             |and weighty in that kind of a part.       |
+             |                                          |
+             |  "The Best People" is a pleasant spring  |
+             |fillip.                                   |
+
+The first admonition in theatrical reporting is "Don't resumé the plot
+or tell the story of the play." This is almost all that many dramatic
+reporters try to do, because it is the easiest thing to do and requires
+the least thought. But, after all, it is usually valueless. The story of
+the play does not interest readers who have already seen the play and it
+spoils the enjoyment of the play for those who intend to see it. The
+usual purpose of any theatrical report is to criticize, but a report
+that simply resumés the story of the play is not a criticism; hence
+space devoted to the story is usually wasted. To be sure, this
+admonition must be qualified. If the development of the critic's
+judgment of the play requires a resumé of the story, there is then a
+reason for outlining the action. However, even then, the outline should
+be very brief.
+
+The following is a typical example of the usual dramatic reporting
+which is satisfied when it has told the story of the play. In this, the
+first two sentences are a very bald attempt to repay the manager for his
+tickets. The resumé of the story, given very obviously to fill space, is
+not of any critical value. The only real criticism is at the end and is
+inadequate because the praise is given without reason.
+
+             |  Grace George and her small but          |
+             |excellent company of artists added one    |
+             |more to their long list of successful     |
+             |performances last night in the production |
+             |of Geraldine Bonner's clever comedy of    |
+             |modern life, "Sauce for the Goose," at    |
+             |the ---- Theatre. That the moody and      |
+             |sparkling Miss George has a good claim to |
+             |the title of America's leading            |
+             |comedienne, no one who saw the            |
+             |performance last evening could deny. In   |
+             |this piece she is cast for the part of    |
+             |Kitty Constable, who is in the third year |
+             |of her married life and living with her   |
+             |husband in New York City. Mr. Constable   |
+             |has been engaged in writing a book on the |
+             |emancipation of woman and as a result has |
+             |come to neglect his pretty little wife    |
+             |and seek the companionship of a certain   |
+             |woman of great intellect, Mrs. Alloway,   |
+             |who leads him on by an affected sympathy  |
+             |with his work. He chides his wife for her |
+             |seeming negligence of the culture of her  |
+             |mind, telling her that she lacks grey     |
+             |matter. The climax comes when Mr.         |
+             |Constable tries to get away from his wife |
+             |on the evening of their wedding           |
+             |anniversary to dine with Mrs. Alloway.    |
+             |Kitty tries the emancipated woman idea    |
+             |and goes to the opera with another man    |
+             |and has dinner with him in his            |
+             |apartments. She lets her husband know of  |
+             |her plans and he comes to the room in a   |
+             |rage. By thus playing first on his        |
+             |jealousy and then by ridiculing his       |
+             |ideas, she wins him back to herself. The  |
+             |company was made up of artists and there  |
+             |was not a crude spot in the whole         |
+             |performance. The part of Harry Travers,   |
+             |the friend of Mrs. Constable's, was       |
+             |excellently done by Frederick Perry, as   |
+             |was that of Mr. Constable by Herbert      |
+             |Percy. Probably the most difficult        |
+             |character in the play to portray was that |
+             |of the "woman's rights" woman, Mrs.       |
+             |Alloway, which was most admirably done by |
+             |Edith Wakeman.                            |
+
+The word criticism must not lead the reporter to think that, as a
+critic, his only function is to find fault. To criticize may mean to
+praise as well as to condemn. If the critic is not restricted by the
+policy of his paper, he should be as willing to praise as to condemn,
+and vice versa. But whichever course he takes he must be ready to defend
+his criticism and to tell why he praises or why he condemns. There is
+always a tendency to praise a play in return for the free tickets; this
+should be put aside absolutely. The critic owes something to the public
+as well as to the manager. If the play seems to him to be bad, he must
+say so without hesitation and he must tell why it is bad. Too many
+really bad plays are immensely advertised by a critic's undefended
+statement that they are not fit to be seen. Had the critic given
+definite reasons for his condemnation, his criticism might have
+accomplished its purpose. In the same way it is useless to say simply
+that a play is good. Its good points must be enumerated and the reader
+must be told why it is good.
+
+However, criticism must be written with delicacy. If your heart tells
+you to praise, praise; if your heart tells you to condemn, condemn with
+care. Remember that your condemnation may put the play off the boards or
+at least hurt its success, and there must be sufficient reason for such
+radical action. The critic's debt to the public is large, but he owes
+some consideration to the manager. He must hesitate before he says
+anything that may ruin the manager's business. Critics very often
+condemn a play for trivial reasons; they feel indisposed, perhaps
+because their dinner has not agreed with them, the play does not fit
+into their mood and they turn in a half column of ruinous condemnation.
+Perhaps they like a certain kind of production--farces, for
+instance--and systematically vent their ire on every tragedy and every
+musical comedy. They do not use perspective; they do not judge the stage
+as a whole. No matter how poor a play is or how much a critic dislikes
+it, he must consider what the stage people are trying to do and judge
+accordingly. In many cases it is not the individual play that deserves
+adverse criticism, but the kind of play. All of these things must be
+considered; every dramatic critic must have perspective. He must be fair
+to the stage people and to the public; his influence is greater than he
+may imagine.
+
+No matter how strong the occasion for condemnation may be, the dramatic
+critic is never justified in speaking bitterly. The poor production is
+not a personal offense against him nor against the public. It is simply
+a bad or an unworthy attempt and his duty is confined to pointing how or
+why it is not worthy. That does not mean that he is justified in using
+bitter, abusive, or even sarcastic language. It is great sport to make
+fun of things and to exercise one's wits at some one's else expense--it
+is also easy--but that is not dramatic criticism. The public asks the
+critic to tell them calmly and fairly, even coldly, the reasons for or
+against a production--the reasons why they should, or should not, spend
+their money to see it--bitter sarcasm overreaches the mark. Just as soon
+as a critic tries to be personal in his remarks on a play he is
+exceeding his prerogative and is open to serious criticism himself.
+
+The necessary attributes of a dramatic reporter, as we have seen, are:
+fairness, logical thinking, and a background of stage knowledge. And of
+these three, the background is of the greatest importance; it is the
+stimulus and the check for the other two. The more a critic can know
+about every phase of the theatrical profession, contemporary or
+historical, the better will be his criticisms. The more knowledge of the
+stage that his copy shows, the more greedily will his readers look for
+his "Theatrical News" each day. However clear his idea of a play may be
+he cannot express it clearly and readably without a background of other
+plays to refer to. And, by the same sign, a wealth of allusions and a
+quantity of theatrical lore will often carry a critic past many a play
+concerning which he is unable to form a clear opinion. To develop your
+ability as a dramatic reporter, watch the theatrical criticisms in
+reputable dailies and weeklies and learn from them.
+
+
+
+
+XVII
+
+
+STYLE BOOK
+
+    _Being a copy of the Style Book compiled for the Course in
+        Journalism of the University of Wisconsin from the style
+        books of many newspapers._
+
+
+=1. Capitalize:=
+
+    All proper nouns: Smith, Madison, Wisconsin.
+
+    Months and days of the week, but not the seasons of the year: April,
+      Monday; but autumn.
+
+    The first word of every quotation, enumerated list, etc., following
+      a colon.
+
+    The principal words in the titles of books, plays, lectures,
+      pictures, toasts, etc., including the initial "a" or "the": "The
+      Merchant of Venice," "Fratres in Urbe." If a preposition is
+      attached to or compounded with the verb capitalize the preposition
+      also: "Voting _For_ the Right Man."
+
+    The names of national political bodies: House, Senate, Congress, the
+      Fifty-first Congress.
+
+    The names of national officers, national departments, etc.:
+      President, Vice President, Navy Department, Department of Justice
+      (but not bureau of labor), White House, Supreme Court (and all
+      courts), the Union, Stars and Stripes, Old Glory, Union Jack,
+      United States army, Declaration of Independence, the (U. S.)
+      Constitution, United Kingdom, Dominion of Canada.
+
+    All titles preceding a proper noun: President Taft, Governor-elect
+      Wilson, ex-President Roosevelt, Policeman O'Connor.
+
+    The entire names of associations, societies, leagues, clubs,
+      companies, roads, lines, and incorporated bodies generally: Mason,
+      Odd Fellow, Knights Templar, Grand Lodge of Knights of Pythias,
+      Woman's Christian Temperance Union, Wisconsin University, First
+      National Bank, Schlitz Brewing Company (but the Schlitz brewery),
+      Metropolitan Life Insurance Company, Chicago and Northwestern
+      Railway Company, the Association of Passenger and Ticket Agents of
+      the Northwest, Clover Leaf Line, Rock Island Road, Chicago Board
+      of Trade, New York Stock Exchange (but the board of trade and the
+      stock exchange).
+
+    The names of all religious denominations, etc.: Catholic,
+      Protestant, Mormon, Spiritualist, Christian Science, First
+      Methodist Church (but a Methodist church), the Bible, the Koran,
+      Christian, Vatican, Quirinal, Satan, the pronouns of the Deity.
+
+    The names of all political parties (both domestic and foreign):
+      Republican, Socialism, Socialist, Democracy, Populist, Free
+      Silverite, Labor party, (but anarchist).
+
+    Sections of the country: the North, the East, South America;
+      southern Europe.
+
+    Nicknames of states and cities: The Buckeye State, the Hub, the
+      Windy City.
+
+    The names of sections of a city and branches of a river, etc.: the
+      East Side, the North Branch.
+
+    The names of stocks in the money market: Superior Copper, Fourth
+      Avenue Elevated.
+
+    The names of French streets and places: Rue de la Paix, Place de la
+      Concorde.
+
+    Names of automobiles: Peerless, the White Steamer, Pierce Arrow.
+
+    Names of holidays: Fourth of July, Christmas, New Year's day,
+      Thanksgiving day.
+
+    Names of military organizations: First Wisconsin Volunteers,
+      Twenty-third Wisconsin Regiment, Second Army Corps, second
+      division Sixth Army Corps, National Guard, Ohio State Militia,
+      First Regiment armory, the militia, Grand Army of the Republic.
+
+    The names of all races and nationalities (except negro): American,
+      French, Spanish, Chinaman.
+
+    The nicknames of baseball clubs: the White Sox, the Cubs.
+
+    Miscellaneous: la France, Irish potatoes, Enfield rifle, American
+      Beauty roses.
+
+
+=2. Capitalize when following a proper noun:= Bay, block, building,
+canal, cape, cemetery, church, city, college, county, court (judicial),
+creek, dam, empire, falls, gulf, hall, high school, hospital, hotel,
+house, island, isthmus, kindergarten, lake, mountain, ocean, orchestra,
+park, pass, peak, peninsula, point, range, republic, river, square,
+school, state, strait, shoal, sea, slip, theatre, university, valley,
+etc.: South Hall, Park Hotel, Hayes Block, Singer Building, Dewey
+School, South Division High School, Superior Court, New York Theatre,
+Beloit College, Wisconsin University, Capitol Square.
+
+
+=3. Do not capitalize when following a proper name:= Addition, avenue,
+boulevard, court (a short street), depot, elevator, mine, place,
+station, stockyards, street, subdivision, ward, etc.: Northwestern
+depot, Pinckney street station, Third ward, Harmony court, Amsterdam
+avenue, Broad street, Wingra addition, Washington boulevard, Winchester
+place.
+
+
+=4. Capitalize when preceding a proper noun:=--All titles denoting rank,
+occupation, relation, etc. (do not capitalize them when they follow the
+noun): alderman, ambassador, archbishop, bishop, brother, captain,
+cardinal, conductor, congressman, consul, commissioner, councilman,
+count, countess, czar, doctor, duke, duchess, earl, emperor, empress,
+engineer, father, fireman, governor, her majesty, his honor, his royal
+highness, judge, mayor, motorman, minister, officer, patrolman,
+policeman, pope, prince, princess, professor, queen, representative,
+right reverend, senator, sheriff, state's attorney, sultan: Alderman
+John Smith (but John Smith, alderman), Senator La Follette (but Mr. La
+Follette, senator from Wisconsin).
+
+The same rule applies when the following words precede a proper noun as
+part of a name: bay, cape, city, college, county, empire, falls, gulf,
+island, point, sea, state, university, etc.: City of New York, Gulf of
+Mexico, University of Wisconsin, College of the City of New York,
+College of Physicians and Surgeons.
+
+
+=5. Do not capitalize:=
+
+    The names of state bodies, etc.: the senate, house, congress,
+      speaker, capitol, executive mansion, revised statutes. (These are
+      capitalized only when they refer to the national government:
+      e. g., the capitol at Madison, the Capitol at Washington.)
+
+    The names of city boards, departments, buildings, etc.: boards,
+      bureaus, commissions, committees, titles of ordinance, acts,
+      bills, postoffice, courthouse (unless preceded by proper noun),
+      city hall, almshouse, poorhouse, house of correction, county
+      hospital, the council, city council, district, precinct: e. g.,
+      the fire department, the tax committee.
+
+    Certain other governmental terms: federal, national, and state
+      government, armory, navy, army, signal service, custom-house.
+
+    Points of the compass: east, west, north, south, northeast, etc.
+
+    The names of foreign bodies: mansion-house, parliament, reichstag,
+      landtag, duma.
+
+    Common religious terms: the word of God, holy writ, scriptures, the
+      gospel, heaven, sacred writings, heathen, christendom,
+      christianize, papacy, papal see, atheist, high church, church and
+      state, etc.
+
+    The court, witness, speaker of the chair, in dialogues.
+
+    Scientific names of plants, animals, and birds: formica rufa.
+
+    a. m., p. m., and m. (meaning a thousand); "ex-" preceding a title.
+
+    The names of college classes: freshman, sophomore.
+
+    College degrees when spelled out: bachelor of arts; but B. A.
+
+    Seasons of the year: spring, autumn, etc.
+
+    Officers in local organizations (election of officers); president,
+      secretary, etc.
+
+    Certain common nouns formed from proper nouns: street arab, prussic
+      acid, prussian blue, paris green, china cup, india rubber,
+      cashmere shawl, half russia, morocco leather, epsom salts,
+      japanned ware, plaster of paris, brussels and wilton carpets,
+      valenciennes and chantilly lace, vandyke collar, valentine,
+      philippic, socratic, herculean, guillotine, derby hat, gatling
+      gun.
+
+
+=6. Punctuation:=
+
+    Omit periods after nicknames: Tom, Sam, etc.
+
+    Always use a period between dollars and cents and after per cent.,
+      but never after c, s, and d, when they represent cents, shillings,
+      and pence: $1.23, 10 per cent., 2s 6d.
+
+    Punctuate the votes in balloting thus: Yeas, 2; nays, 3.
+
+    Punctuate lists of names with the cities or states to which the
+      individuals belong thus: Messrs. Smith of Illinois, Samson of West
+      Virginia, etc. If the list contains more than three names, omit
+      the "of" and punctuate thus: Smith, Illinois; Samson, West
+      Virginia; etc. Where a number of names occurs with the office
+      which they hold, use commas and semicolons, thus: J. S. Hall,
+      governor; Henry Overstoltz, mayor; etc.
+
+    Never use a colon after viz., to wit, namely, e. g., etc., except
+      when they end a paragraph. Use a colon, dash, or semicolon before
+      them and commas after them, thus: This is the man; to wit, the
+      victim.
+
+    "Such as" should follow a comma and have no point after it: "He saw
+      many things, such as men, horses, etc."
+
+    Set lists of names thus without points:
+
+            Mesdames--           George V. King
+            Charles C. Knapp     Henry A. Lloyd
+            John H. Cole Jr.
+
+    Do not use a comma between a man's name and the title "Jr." or "Sr."
+      as John Jones Jr.
+
+    Use the apostrophe to mark elision: I've, 'tis, don't, can't, won't,
+      canst, couldst, dreamt, don'ts, won'ts, '80s.
+
+    Use the apostrophe in possessives and use it in the proper place:
+      the boy's clothes, boys' clothes, Burns' poems, Fox's Martyrs,
+      Agassiz's works, ours, yours, theirs, hers, its (but "it's" for it
+      is). George and John's father was a good man; Jack's and Samuel's
+      fathers were not.
+
+    Do not use the apostrophe when making a plural of figures, etc.: all
+      the 3s, the Three Rs.
+
+    Do not use the apostrophe in Frisco, phone, varsity, bus.
+
+    Use an em dash after a man's name when placed at the beginning in
+      reports of interviews, speeches, dialogues, etc.: John Jones--I
+      have nothing to say. (No quotation marks.)
+
+    In a sentence containing words inclosed in parentheses, punctuate as
+      if the part in parentheses were omitted: if there is any point put
+      it after the last parenthesis.
+
+    Use brackets to set off any expression or remark thrown into a
+      speech or quotation and not originally in it: "The Republican
+      party is again in power--[cheers]--and is come to stay."
+
+    Use the conjunction "and" and a comma before the last name in a list
+      of names, etc.: John, George, James, and Henry.
+
+    Use no commas in such expressions as 6 feet 3 inches tall, 3 years 6
+      months old, 2 yards 4 inches long.
+
+    Punctuate scores as follows: Wisconsin 8, Chicago 0.
+
+    Punctuate times in races, etc.: 100-yard dash--Smith, first; Jones,
+      second. Time, 0:10 1-5.
+
+    Peters carried the ball thirty yards to the 10-yard line.
+
+
+=7. Date lines:=
+
+    Punctuate date lines as follows:
+
+      MADISON, Wis., Jan. 25.--
+
+      Do not use the name of the state after the names of the larger
+      cities of the country, such as New York, Chicago, Boston,
+      Philadelphia, Baltimore, San Francisco, Seattle. Abbreviate the
+      names of months which have more than five letters.
+
+
+=8. Quoting:=
+
+    Quote all extracts and quotations set in the same type and style as
+      the context, but do not quote extracts set in smaller type than
+      the context or set solid in separate paragraphs in leaded matter.
+
+    Quote all dialogues and interviews, unless preceded by the name of
+      the speaker or by "Question" and "Answer":
+
+      "I have nothing to say," answered Mr. Smith.
+      William Smith--I have nothing to say.
+      Question--Were you there?
+      Answer--I was.
+
+    Quote the names of novels, dramas, paintings, statuary, operas, and
+      songs: "The Brass Bowl," "Il Trovatore."
+
+    Quote the subjects of addresses, lectures, sermons, toasts, mottoes,
+      articles in newspapers: "The Great Northwest," "Our Interests."
+
+    Be sure to include "The" in the quotation of names of books,
+      pictures, plays, etc.: "The Fire King"; not the "Fire King";
+      unless the article is not a part of the name.
+
+    Do not quote the names of theatrical companies, as Her Atonement
+      Company.
+
+    Do not quote the names of characters in plays, as Shylock in "The
+      Merchant of Venice."
+
+    Do not quote the names of newspapers. In editorials put "The Star"
+      in italics, but in "The Kansas City Star" put "Star" in italics
+      and use no quotation marks.
+
+    Do not quote the names of vessels, fire engines, balloons, horses,
+      cattle, dogs, sleeping cars.
+
+
+=9. Compounds and Divisions:=
+
+    Omit the hyphen when using an adverb compounded with -ly before a
+      participle: a newly built house.
+
+    Use a hyphen after prefixes ending in a vowel (except bi and tri)
+      when using them before a vowel: co-exist. When using such a prefix
+      before a consonant do not use the hyphen except to distinguish the
+      word from a word of the same letters but of different meaning:
+      correspondent, but co-respondent (one called to answer a summons);
+      recreation, but re-create (to create anew) reform, but re-form (to
+      form again); re-enforced; biennial, etc.
+
+    Do not use the hyphen in the names of rooms when the prefix is of
+      only one syllable: bedroom, courtroom, bathroom, etc. (except blue
+      room, green room, etc.).
+
+    When the prefix is of more than one syllable use the hyphen. Follow
+      the same rule in making compounds of house, shop, yard, maker,
+      holder, keeper, builder, worker: shipbuilder, doorkeeper.
+
+    In dividing at the end of a line:
+
+      Do not run over a syllable of two letters.
+      Do not divide N. Y., M. P., LL. D., M. D., a. m., p. m., etc.
+      Do not divide figures thus: 1,-000,000; but thus 1,000,-000.
+      Do not divide a word of five letters or less.
+
+
+=10. Figures:=
+
+    Use figures for numbers of a hundred or over, except when merely a
+      large or indefinite number is intended: twenty-three, 123, about
+      a thousand, a dollar, a million, millions, a thousand to one,
+      from four to five hundred.
+
+    Use figures for numbers of less than 100 when they are used in
+      connection with larger numbers: There were 33 boys and 156 girls;
+      there were 106 last week and 16 this week.
+
+    Use figures for hours of the day: at 7 p. m.; at 8:30 this morning.
+
+    Use figures for days of the month: April 30, the 22nd of May.
+
+    Use figures for ages: he was 12 years old; little 2-year-old John.
+      If the words "2-year-old John" begin a sentence or headline, spell
+      out the age.
+
+    Use figures for dimensions, prices, degrees of temperature, per
+      cents., dates, votes, times in races, scores in baseball, etc.: 3
+      feet long, $3 a yard, 76 degrees, Jan. 14, 1906. Time of
+      race--2:27.
+
+    Use figures for all sums of money: $24, $5.06, 75 cents.
+
+    Use figures for street numbers: 1324 Grand avenue.
+
+    Use figures for numbered streets and avenues above 99th; spell out
+      below 100th: 123 Twenty-third avenue, 10 East 126th street.
+
+    Use figures in statistical or tabular matter; never use ditto
+      marks.
+
+    Use figures, period, and en quad for first, second, etc.: 1.--,
+      2.--.
+
+    Do not begin a sentence or paragraph with figures; supply a word if
+      necessary or spell out: At 10 o'clock; Over 300 men.
+
+    Do not use the apostrophe to form plurals of figures: the 4s, rather
+      than the 4's.
+
+    In all texts from the Bible set the chapters in Roman numerals and
+      the verses in figures: Matt. xxii. 37-40; I. John v. 1-15. In
+      Sunday school lessons say Verse 5.
+
+    Say three-quarters of 1 per cent.; not 3/4 of 1 per cent.
+
+    Set tenths, hundreds, etc., in decimals: 1.1; 2.03.
+
+
+=11. Abbreviations:=
+
+    Abbreviate the following titles and no others, when they precede a
+      name: Rev., Dr., Mme., Mlle., Mr., Mrs., Mgr. (Monsignore), M.
+      (Monsieur).
+
+        Do not put Mr. before a name when the Christian name is given
+      except in society news and editorials: Mr. Johnson; but Samuel L.
+      Johnson.
+
+        Supply Mr. in all cases when Rev. is used without the Christian
+      name: Rev. Henry W. Beecher; but Rev. Mr. Beecher.
+
+        Never use "Honorable" or the abbreviation thereof except with
+      foreign names, in editorials, or in documents.
+
+    Abbreviate thus: Wash., Mont., S. D., N. D., Wyo., Cal., Wis.,
+      Colo., Ind., Id., Kan., Ariz., Okla., Me. Do not abbreviate
+      Oregon, Iowa, Ohio, Utah, Alaska, or Texas.
+
+    Abbreviate thus: Madison, Dane County, Wis.: but Dane County,
+      Wisconsin.
+
+    Use the abbreviations U. S. N. and U. S. A. after a proper name.
+
+    Y. M. C. A., W. C. T. U., M. E. are good abbreviations.
+
+    Abbreviate names of months when preceding date only when the month
+      contains more than five letters: Jan. 20; but April 20. When the
+      date precedes the month in reading matter spell it out: the 13th
+      of January; the 26th inst.
+
+    Abbreviate "Number" before figures: No. 10.
+
+    Abbreviate contract, article, section, question, answer, after the
+      first in bills, by-laws, testimony, etc.: Section 1., Sec. 2.;
+      Question--, Answer--, Q.--, A.--.
+
+    Do not abbreviate railway, company, the names of streets, wards,
+      avenues, districts, etc.: Madison Street Railway Company; State
+      street, Monona avenue.
+
+        Street and avenue are sometimes abbreviated in want-ads:
+      State-st, Monona-av.
+
+        Spell out numbered streets and avenues up to 100th:
+      Thirty-fourth street, 134th street.
+
+    Use & in names of firms, but use the long "and" in names of
+      railroads. Use Etc. and not &c.; use Brothers and not Bros.
+      (except in ads); use & only when necessary to abbreviate in
+      stocks.
+
+    Do not abbreviate the names of political parties except in election
+      returns, then: Dem., Rep., Soc., Lab., Ind., Pro., Un. Cit.
+
+    Put in necessary commas in abbreviating railroad names: C., M. & St.
+      P. Ry. (Chicago, Milwaukee and St. Paul Railway); C., C., C. & St.
+      L. R. R. (Cleveland, Cincinnati, Chicago and St. Louis Railroad).
+
+    Abbreviate without periods in market review and quotations: 25c, bu,
+      brls, tcs, pkgs, f o b, p t, etc. Spell out centimes except when
+      given thus: 10f 20c.
+
+    Do not abbreviate Fort and Mount: Fort Wayne, Mount Vernon.
+
+
+=12. Preparation of Copy:=
+
+    Use a typewriter or write legibly; some one must read your copy.
+
+    If you write with a typewriter, double or triple space your copy;
+      never use single space.
+
+    Don't write on more than one side of the paper.
+
+    Leave sufficient margin for corrections and leave a space at the top
+      of the first page for headlines; leave an inch at the top of each
+      page.
+
+    Don't put more than one story on a single sheet of paper.
+
+    Don't trust the copy-reader to fill in blanks or to correct
+      misspelled names. If you write by hand print out proper names as
+      legibly as possible; underscore _u_ and overscore _n_.
+
+    Don't assume that the copy-reader, the proofreader, or the editor
+      will punctuate for you, or eliminate all superfluous punctuation.
+
+    Remember that uniformity is more to be desired than a strict
+      following of style.
+
+    Don't turn in copy without re-reading carefully and verifying all
+      names and addresses.
+
+    Use short paragraphs; always paragraph the lead separately; indent
+      paragraphs distinctly.
+
+    Don't write over figures or words; scratch out and rewrite.
+
+    Number your pages; when pages are inserted use letters: pages 2, 3a,
+      3b, 4, 5.
+
+    A circle around an abbreviation or a figure indicates that the word
+      or number is to be spelled out. A circle around a spelled-out word
+      or number indicates that it is to be abbreviated or run in
+      figures.
+
+    Mark the end of your story, thus: # # #
+
+
+=13. Don'ts:=
+
+    Don't use "Honorable" or abbreviations thereof, except in extracts
+      from speeches or documents, in editorials, or before foreign
+      names.
+
+    Don't add final s to afterward, toward, upward, downward, backward,
+      earthward, etc.
+
+    Don't use "signed" before the signature of a letter or document; run
+      signature in caps.
+
+    Don't begin a sentence or paragraph with figures; insert a word
+      before the figures or spell out.
+
+    Don't use commas in dates or in figures which denote the number of a
+      thing, as A. D. 1908, 2324 State street, Policy 33815; in other
+      cases use the comma, as $5,289; 1,236,400 people.
+
+    Don't forget that the following are singular and require singular
+      verbs: sums of money, as $23 was invested; United States; anybody,
+      everybody, somebody, neither, either, none; whereabouts, as "His
+      whereabouts is known."
+
+    Don't forget that things OCCUR by chance or accident, and that
+      things TAKE PLACE by arrangement.
+
+    Don't "sustain" broken legs and other injuries.
+
+    Don't "administer" punishment.
+
+    Don't confound "audiences," "spectators," and casual "witnesses."
+
+    Don't say "party" for "person."
+
+    Don't use "suicide," "loan," "scare," as verbs.
+
+    Don't use "gotten"; it is questionable; use "got."
+
+    Don't use "burglarize."
+
+    Don't use "transpire" for "occur."
+
+    Don't use "locate" for "find"; to locate a thing is to place it.
+
+    Don't use "stopped" for "stayed": He stayed at the Central Hotel.
+
+    Don't "tender" receptions nor "render" songs; use simply "give" and
+      "sing."
+
+    Don't "put in an appearance"; just appear.
+
+    Don't use "don't" for "doesn't."
+
+    Don't use "stated" for "said."
+
+    Don't say "per day" or "per year," but "a day," "a year"; per is a
+      Latin word and can be used only before a Latin noun, as "per diem"
+      or "per annum."
+
+    Don't say "the meeting convened"; members might convene but a single
+      body cannot.
+
+    Don't "claim that" anything is so; you can "claim" a thing,
+      however.
+
+    Don't say "Mrs. Dr. Smith," just "Mrs. Smith."
+
+    Don't say "between" when more than two are mentioned.
+
+    Don't use "proven" for "proved."
+
+    Don't confound "staid" with "stayed."
+
+    Don't say "different than," but "different from."
+
+    Don't split infinitives or other verbs.
+
+    Don't use "onto."
+
+    Don't use "babe" or "tot" for "baby" or "child."
+
+    Don't use superlatives when you can help it.
+
+    Don't use trite expressions or foreign words and phrases.
+
+    Don't use "corner of" in designating street location.
+
+    Don't say "died from operation," but "died after operation"--to
+      avoid danger of libel.
+
+    Don't get the _very_ habit.
+
+    Don't use "couple of" instead of "two."
+
+    Don't use Mr. before a man's full name.
+
+    Don't use slang unless it is fitting--which is seldom.
+
+    Don't mention the reporters, singly or collectively, unless it is
+      necessary. It rarely is.
+
+    Don't qualify the word "unique"; a thing may be "unique," but it
+      cannot be "very unique," "quite unique," "rather unique," or "more
+      unique."
+
+    Don't use the inverted passive: e. g., "A man was given a dinner,"
+      "Smith was awarded a medal."
+
+    Don't concoct long and improper titles: Justice of the Supreme Court
+      Smith, Superintendent of the Insurance Department Jones,
+      Groceryman Brown. If the title is long put it after the man's
+      name; thus: George Smith, justice of the Supreme Court.
+
+    Don't use the verb "occur" with weddings, receptions, etc.; they
+      take place by design and never unexpectedly.
+
+    Don't say "a number of," if you can help it. Be specific.
+
+    Don't use the word "lady" for "woman," or "gentleman" for "man."
+
+    Don't say "a man by the name of Smith," but "a man named Smith."
+
+    Don't use "depot" for "station"--railway passenger station.
+
+
+
+
+APPENDIX I
+
+
+SUGGESTIONS FOR STUDY
+
+These Suggestions for Study embody the method used in the course in News
+Story Writing in the Course in Journalism of the University of
+Wisconsin. The text of the several chapters corresponds to the lectures
+that are given in preparation for, and in connection with, the study of
+the various kinds of news stories. These Suggestions for Study
+correspond to the exercises by which the students learn the application
+of the principles embodied in the lectures. Hence these suggestions are
+given mainly from the instructor's point of view; however, a slight
+alteration will adapt them to home or individual study. Although they
+give very little practice in news gathering, they enable the student to
+gain practice in the writing of news--in accordance with the purpose of
+this book. The reporter who is studying the business in a newspaper
+office may use them to advantage in connection with his regular work.
+
+
+EXERCISES FOR THE FIRST CHAPTER
+
+     1. Collect clippings of representative news stories, printed in
+        the daily papers, to be used as models.
+
+     2. Keep a book of tips of expected news in your town or city.
+
+     3. Study news stories in your local paper and try to determine from
+        what source the original news tip came. Try to discover from the
+        story the routine of news gathering which furnished the facts.
+
+     4. In the same stories try to determine what persons were
+        interviewed; frame the questions that the reporter might have
+        asked to secure the facts. The instructor may impersonate
+        various persons in a given news story and have the students
+        interview him for the facts; this is to assist the student in
+        learning to keep the point of view and to keep him from asking
+        ridiculous questions.
+
+     5. Try to discover what stories in any newspaper are the result of
+        actual reporting by staff reporters--point out where the others
+        come from.
+
+     6. Notice the date line on stories that come from the outside, and
+        learn its form.
+
+
+EXERCISES FOR THE SECOND CHAPTER
+
+     1. Watch for local stories that seem to be worth sending out;
+        determine what element in them makes them worth sending out;
+        calculate how far from their source they would be worth
+        printing.
+
+     2. Study the news value of stories that are printed in the local
+        papers; determine why they were printed. Look for the same
+        things in stories with date lines in the local papers.
+
+     3. Determine what class of readers any given news story would
+        interest.
+
+     4. Notice the time element (timeliness) in newspaper stories.
+
+     5. Try to determine the radius of your local paper's personal news
+        sources: how near the printing office one must live to be worth
+        personal mention.
+
+     6. Watch for local stories whose news value depends upon the death
+        element, upon a prominent name, a significant loss of property,
+        mere unusualness, human interest, or personal appeal; see what
+        the local papers do with these stories and whether the local
+        correspondents send them out.
+
+     7. Analyze the nature of the personal appeal in stories that are
+        printed only for their personal appeal.
+
+     8. Notice how local reasons change the news values of local
+        stories.
+
+     9. In any or all of these stories determine what the feature is.
+        Distinguish between the fundamental incident which the story
+        reports and the additional significant feature which enhances
+        the news value of the fundamental incident.
+
+
+EXERCISES FOR THE THIRD CHAPTER
+
+
+     1. Run over the Style Book at the end of this book; note the
+        essential points in newspaper style.
+
+     2. Give the principal rules for the preparation of copy.
+
+     3. Glance over the "Don'ts" in the Style Book.
+
+
+EXERCISES FOR THE FOURTH CHAPTER
+
+
+     1. Study the form and construction of news stories, especially
+        simple fire stories.
+
+     2. Pick out the feature of each story--the additional incident in
+        the story which increases the news value of the story
+        itself--and see if the striking feature has been played up to
+        best advantage.
+
+     3. Notice how the reader's customary questions--what, where, when,
+        who, how, and why--are answered in the lead. Make a list of the
+        answers in any given story.
+
+
+EXERCISES FOR THE FIFTH CHAPTER
+
+     1. Collect good fire stories appearing in the newspapers. Study
+        the construction of the lead and the order in which the facts
+        are presented in the body of each story.
+
+     2. Write the leads of fire stories. The chances are that actual
+        fires will seldom occur at the time when the student wishes to
+        study the writing of fire stories, but the instructor may give
+        his class, orally or in writing, the facts of a fire story. He
+        may use imaginary facts or he may take the facts from a story
+        clipped from a newspaper--the latter method is better because it
+        enables the instructor to show the students, after they have
+        written their stories, just how the original story was written
+        in the newspaper office. The facts should be given in the order
+        in which a reporter would probably secure them in actual
+        reporting so that the student may learn to sort and arrange the
+        facts that he wishes to use, and to select the feature. The
+        instructor may even impersonate different persons connected with
+        the story and have the class interview him for the facts. This
+        method is to be followed throughout the whole study of news
+        story writing. (In individual study, practice may be secured
+        from writing up imaginary or real facts.)
+
+     3. In these first fire stories, use fires that have no interest
+        beyond the interest in the fire itself--that is, no feature.
+        Begin the story with "Fire" and devote the lead to answering the
+        reader's customary questions.
+
+     4. Look for newspaper fire stories that are not correctly written
+        and reconstruct the lead according to the logic of the fire
+        lead. That is, strive for conciseness and cut out details that
+        do not properly belong in the lead.
+
+     5. Make a list of the reader's customary questions concerning any
+        fire and write out the briefest possible answers. Then construct
+        a lead to embody these answers. Determine which answer should
+        come first and which last, according to importance.
+
+     6. Write the bodies of some of these stories. First list the facts
+        that are to be presented and determine the order of their
+        importance.
+
+     7. Emphasize the separateness and completeness of the two parts of
+        the story--the lead and the body of the story. Test the leads to
+        see if they would be clear in themselves without further
+        explanation.
+
+     8. Strive for brevity, conciseness and clearness; wage war on all
+        attempts at fine writing.
+
+
+EXERCISES FOR THE SIXTH CHAPTER
+
+     1. Study fire stories which have features--an interest beyond the
+        mere fire itself--and see how the newspapers write them.
+
+     2. In a feature fire story of Class I., make a list of the reader's
+        customary questions concerning the fire, as if it were a simple
+        fire story, and a list of the answers. See if any answer is more
+        interesting than the fire itself, or if its presence makes the
+        story more interesting. Show that such an answer is the feature.
+
+     3. Write fire stories with features in some one of the reader's
+        customary answers. (Class I.)
+
+     4. Study a simple fire story and try to imagine what
+        things--properly answers to the reader's customary
+        questions--might happen to give the fire greater news value.
+        This will show the student how to look for the feature of a
+        story.
+
+     5. Write the lead of any fire story in as many different ways as
+        possible, striving in each one to play up the same feature.
+
+     6. Study a simple fire story and try to imagine what unexpected
+        things might occur in connection with the fire which would be of
+        greater interest than the fire itself. Show that these would be
+        features and that they do not fall within the answers to the
+        reader's customary questions--i. e., they are unexpected.
+
+     7. Write fire stories with features in unexpected attendant
+        circumstances.
+
+     8. Make up lists of dead and injured; notice how the newspapers
+        arrange and punctuate these lists.
+
+     9. Study fire stories with more than one feature. Work out the
+        possibilities in any given fire along these lines.
+
+    10. Write fire stories in which there is more than one feature
+        worth a place in the lead. Try various combinations in the lead
+        to discover the happiest arrangement. Show how one of many
+        striking features may be of so much importance as to drive the
+        other features entirely out of the lead.
+
+
+EXERCISES FOR THE SEVENTH CHAPTER
+
+     1. Count the number of words in the sentences and paragraphs of
+        representative newspaper stories.
+
+     2. Practice writing fire leads that might be printed alone without
+        the rest of the story.
+
+     3. Take a fire lead and experiment with various beginnings to show
+        the possibilities:
+
+         a. Noun--experiment with and without articles.
+         b. Infinitive--Distinguish infinitives in "to" and
+              in "-ing."
+         c. _That_ clause.
+         d. Prepositional phrase.
+         e. Temporal clause.
+         f. Causal clause.
+         g. Others.
+
+         Show that any of these beginnings may be used in the
+         playing up of any one feature.
+
+     4. Study how a name may overshadow an interesting story; determine
+        when a name is worth first place in a lead. Study the practice
+        of representative papers in this--do not hesitate to show how a
+        paper has been illogical in beginning certain stories with an
+        unknown name, for everything one sees in a newspaper is not
+        ipso facto good usage in newspaper writing.
+
+     5. In students' stories, notice what the principal verb says and
+        point out any misplaced emphasis.
+
+     6. Wage war on "was the unusual experience of" and "was the fate
+        of" in leads.
+
+     7. Try to avoid "broke out" in fire leads. Devote the space to more
+        interesting action.
+
+     8. Cut out all useless words in students' exercises; strive for
+        brevity. Go through a student's story and weigh the value of
+        each word, phrase, and sentence; cut out the useless ones or try
+        to express them more briefly. Do the same to actual newspaper
+        stories.
+
+     9. Weigh the value of every detail introduced into a lead and cut
+        out the unnecessary ones; relegate them to the rest of the
+        story.
+
+    10. Wage war on all meaningless generalities; demand exactness.
+
+    11. Refer the class to the Style Book in this volume and require
+        them to follow a uniform style. Point out the differences in
+        style of various papers.
+
+    12. See if the bodies of students' stories mean anything without
+        the presence of the leads. Require the body of the story to be
+        separate and complete in itself. This need not, of course, be
+        carried to the point of repeating addresses given in the lead.
+
+    13. Try writing a story by simply elaborating and explaining the
+        details mentioned in the lead of the story. Determine what facts
+        must be added.
+
+    14. See if any story can stand the loss of its last paragraph.
+        Determine how many paragraphs it can lose without sacrificing
+        its interest.
+
+    15. In writing the body of a fire story, list the facts that are to
+        be told, in their logical order; thus: origin, discovery,
+        spread, death of firemen, escapes, injuries, rescues, explosion,
+        extinguishing of fire. Number them in the order of their
+        importance. Try to build a story out of these by following the
+        logical order and at the same time crowding the most interesting
+        facts to the beginning.
+
+    16. Practice getting the facts of a story by means of interviews.
+        The instructor may have the students determine what persons they
+        wish to interview for the facts and the instructor may
+        impersonate these persons in turn. The class may then write the
+        story from the facts gained in this way without reference to the
+        interviews. This is for selecting and arranging facts in their
+        logical order.
+
+    17. Practice the use of dialogue in stories. Judge its
+        effectiveness and show that in most cases it is well to avoid
+        dialogue.
+
+    18. Practice rewriting long stories into short press dispatches of
+        150 words or less, considering the different news value.
+
+
+EXERCISES FOR THE EIGHTH CHAPTER
+
+     1. Collect clippings of other kinds of news stories.
+
+     2. In writing these other stories use the fire story as a model;
+        the facts may be presented as they were in the fire story.
+
+     3. Study the possible features in accident stories; write accident
+        stories with various features; make lists of dead and injured.
+
+     4. Study and write robbery stories with various features;
+        distinguish between the various names applied to robbery and to
+        the people who rob.
+
+     5. Study and write murder and suicide stories with various
+        features, striving in each case to give the facts without
+        shocking the reader. Show how the featureless murder or suicide
+        story is very much like a featureless fire story.
+
+     6. Study and write riot, storm, flood, and other big stories.
+
+     7. In the study of police court news have the class go to the local
+        police courts and report actual cases.
+
+     8. Send the students to report meetings. Report conferences,
+        decisions, etc. Insist that the story begin with the gist of the
+        report in each case and never with explanations.
+
+     9. Write stories on bulletins, catalogues, city directories, etc.
+        Study them with reference to their timeliness and try to
+        discover what in them has the most news value. Require the
+        student to begin with this element of news value and to give the
+        source (the name and date of the bulletin, etc.) in the lead.
+
+    10. Look over the daily papers and pick out news stories which
+        bury the gist of their news and have the students rewrite the
+        leads to play up the real news or to give greater emphasis to
+        buried features.
+
+
+EXERCISES FOR THE NINTH CHAPTER
+
+     1. Collect good examples of the follow-up and the rewrite story;
+        follow one important story through several days' editions to
+        see how it is rewritten day by day. Examine an afternoon
+        paper's version of a story covered in a morning paper.
+
+     2. Take any news story and work out the follow-up possibilities;
+        imagine what the next step in the story will be.
+
+     3. On this basis, write follow-up stories and rewrite stories.
+
+     4. Write a follow-up story which, while beginning with a new
+        feature, retells the original story.
+
+     5. Study and write follow-up stories involving fires, accidents,
+        robberies, murders, suicides, storms (present condition), etc.
+
+
+EXERCISES FOR THE TENTH CHAPTER
+
+     1. Collect good examples of speech reports.
+
+     2. Take notes on oral speeches and write reports of varying
+        lengths. Practice taking notes in the proper way and write the
+        report at once--perhaps as an impromptu in class. The instructor
+        may send his students to public lectures or read representative
+        speeches to them in class.
+
+     3. Write reports of speeches from printed copies of the speech;
+        that is, edit them in condensed form.
+
+     4. Take one lead and experiment with different beginnings, playing
+        up the same idea in each case.
+
+     5. Discuss speeches to determine the newsiest and timeliest thing
+        in the speech--the statement to be played up in the lead.
+
+     6. In the body of the report try to use as much direct quotation as
+        possible, use complete sentence quotations, do not mix quotation
+        and summary in the same paragraph or sentence. Study the rules
+        regarding the use of quotation marks.
+
+     7. Have the students write running reports of speeches--that is,
+        have them write their report as they listen to the speech and
+        submit their report in this form. Naturally the lead must be
+        written later.
+
+
+EXERCISES FOR THE ELEVENTH CHAPTER
+
+     1. Collect representative interview stories.
+
+     2. Have students interview various people without the aid of a note
+        book; have them bring back quoted statements by the use of their
+        memory. Have them interview some one who will criticize their
+        manner and method.
+
+     3. Have a definite reason or timeliness for every interview--have
+        the student map out a definite campaign beforehand. Try writing
+        out the questions beforehand in shape to fill in the answers.
+
+     4. Write interview stories from the results of these attempts.
+
+     5. Begin the same interview story in various ways.
+
+     6. Write an interview story in which the feature is a denial or a
+        refusal to speak; tell what should have been said and what the
+        denial or refusal signifies.
+
+     7. Study the form of the body of the report (see Speech Reports).
+
+     8. Write stories which are the result of several interviews on the
+        same subject; arrange them informally and formally.
+
+
+EXERCISES FOR THE TWELFTH CHAPTER
+
+     1. Collect examples of good court reports.
+
+     2. Attend and report actual cases in the local courts (preferably
+        civil courts).
+
+     3. Determine what is the most interesting thing in each.
+
+     4. From this, write court reports--reports of the cases which the
+        students have heard.
+
+     5. Experiment with the various beginnings for the same report.
+
+     6. Try summarizing a case in one paragraph.
+
+     7. Practice getting down testimony verbatim.
+
+     8. Practice summarizing testimony in indirect form.
+
+     9. Practice writing out the testimony in full in the various ways.
+
+    10. Write testimony with action in it for the sake of human
+        interest.
+
+    11. Show how all of these may be combined into one good court
+        report.
+
+
+EXERCISES FOR THE THIRTEENTH CHAPTER
+
+     1. Notice how various newspapers treat social news; study the
+        reason in each case; collect examples.
+
+     2. List the facts of a wedding story; write short and long wedding
+        stories.
+
+     3. Write wedding announcements, beginning in various ways.
+
+     4. Write engagement announcements.
+
+     5. Write up receptions, banquets, dinners, etc.; report actual
+        functions.
+
+     6. Write announcements for the same functions.
+
+     7. Write up some unusual social story as a news story.
+
+     8. Practice writing obituaries and simple death stories with
+        accompanying obituary. Write sketches of the lives of prominent
+        people.
+
+     9. In these exercises use actual events as subjects.
+
+
+EXERCISES FOR THE FOURTEENTH CHAPTER
+
+     1. Study sporting stories for their material and method.
+
+     2. Report a football game or some other sporting event.
+
+     3. Make a running account of a football or baseball game.
+
+     4. Write a brief summary of the game to be sent out as a dispatch,
+        limiting it to 150 words.
+
+     5. Write up the same game in 200-300 words; attach a condensed
+        running account of the same length.
+
+     6. Write a long story of the same game, following the outline given
+        in the text; attach a detailed running account by periods or
+        innings; compile tables of players and results for the end.
+
+     7. The study of sporting news may be taken out of its logical place
+        and studied during the baseball or football season.
+
+
+EXERCISES FOR THE FIFTEENTH CHAPTER
+
+     1. Collect human interest and newspaper feature stories.
+
+     2. Watch for material for human interest stories; look at the facts
+        in your other news stories in a sympathetic way and see how they
+        could be made into human interest stories.
+
+     3. Write human interest stories on facts given by the instructor
+        and on facts discovered by the students.
+
+     4. Write animal stories, and witty comments on the weather.
+
+     5. Write up some timely local subject as a 1500-word feature story.
+
+
+EXERCISES FOR THE SIXTEENTH CHAPTER
+
+     1. Gather good theatrical reports and watch for those in which the
+        whole report is written around a single idea.
+
+     2. At the theater watch for things to comment on; try to bring away
+        one definite idea about the play--with illustrations.
+
+     3. Write dramatic criticisms that are the embodiment of a single
+        idea or criticism on the play.
+
+     4. Try to point out the bad things in a play without being bitter
+        or personal.
+
+     5. Write a half-column of copy on a vaudeville show, supposing that
+        the copy is paid for and must praise, not only the show as a
+        whole, but each individual act.
+
+
+EXERCISES FOR THE SEVENTEENTH CHAPTER
+
+     1. Notice the form and punctuation of the date line: MADISON,
+        Wis., Feb. 29.--
+
+     2. Notice the writing of street addresses: 234 Grand avenue, 4167
+        Twenty-sixth street; 3857 138th street; (without "at").
+
+     3. Notice in the use of figures--sums of money, hours of day, ages,
+        figures at the beginning of sentence.
+
+     4. Notice use of titles; use of Mr. before a man's name--always
+        give a man's initials or first name the first time you mention
+        it in any story.
+
+
+
+
+APPENDIX II
+
+
+NEWS STORIES TO BE CORRECTED
+
+(The following stories have been prepared to illustrate some of the most
+usual mistakes in newspaper writing. They may be rewritten or used as
+exercises in copy-reading. As a class exercise, the student may revise
+and correct these stories _without recopying_, just as a copy-reader
+revises poorly written copy.)
+
+
+                                  I
+
+              Shortly after 2:30 this morning fire
+
+            broke out in a pile of old papers in the
+
+            basement of the Harmony Flat building,
+
+            at 1356 Congress avenue, a four-story
+
+            eight-apartment structure. Two firemen
+
+            were killed by a falling wall.
+
+              The fire had a good start before the
+
+            janitor, Michael Jones, who sleeps in the
+
+            basement, awoke. He turned in an alarm
+
+            and ran through the halls awakening the
+
+            occupants. The people on the two lower
+
+            floors escaped in their night clothing by
+
+            the stairways, but the fire spread very rap-
+
+            idly, the occupants of the upper floors be-
+
+            ing forced to flee down the fire escapes in
+
+            the rear.
+
+              When the firemen put in an appearance,
+
+            Mrs. Jeanette Huyler appeared at a third
+
+            story window and called for help. An ex-
+
+            tension ladder being hoisted, she was res-
+
+            cued without difficulty. During the fire
+
+            the wall on the east side fell and killed
+
+            Fireman John Casey and Jacob Hughes;
+
+            Fireman Williams Jacobs was hit on the
+
+            head by a brick and seriously injured.
+
+              The fire was extinguished before it
+
+            spread to an adjoining three-story flat
+
+            building on the west.
+
+              The firemen in searching the ruins
+
+            found the body of a man who was later
+
+            identified as Rupert Smithers; he was 70
+
+            and occupied a lower flat by himself. The
+
+            janitor said that he was deaf and prob-
+
+            ably did not hear the warning. The three
+
+            dead and injured firemen belong to Hose
+
+            Co. No. 24.
+
+              Loss $50,000, fully insured.
+
+
+                              ----------
+
+
+
+                                  II
+
+              The police have arrested John Johnson,
+
+            23 years old, 2367 Sixth Street, charged
+
+            with murdering Mrs. Laura Buckthorn,
+
+            the well-known proprietor of the Duchess
+
+            Restaurant, 438 High street. He is now
+
+            in the county jail.
+
+              Mrs. Buckthorn was sixty years old and
+
+            the widow of one of the oldest settlers in
+
+            the city.
+
+              She lived in her small cottage at 2367
+
+            Sixth Street and supported herself by
+
+            means of the restaurant. John Johnson, a
+
+            street car motorman occupied a room in
+
+            her cottage. Mrs. Buckthorn was found
+
+            dead in her bed, in a pool of blood, with
+
+            two bullet holes in her head this morning.
+
+            Mrs. Grady, the restaurant cook said, "I
+
+            became alarmed when Mrs. Buckthorn did
+
+            not appear as usual at the restaurant this
+
+            morning and went to her home to find
+
+            her."
+
+              Inquiry showed that Mrs. Buckthorn
+
+            had drawn $250 from the First National
+
+            Bank yesterday and her daughter, Mrs.
+
+            J. D. Jackson, 1548 Sixth Street, says that
+
+            her mother often kept such sums of money
+
+            at home under the mattress of her bed.
+
+            Mrs. Jackson also says that she often
+
+            warned her mother against such habits.
+
+            The money was not under the mattress
+
+            this morning.
+
+              Further inquiry showed that John Johnson
+
+            did not appear for work as usual this
+
+            morning and was later found by Police-
+
+            man Patrick O'Hara in the railroad yards.
+
+            He had with him $223.67 and a ticket to
+
+            New York. He was known to be hard up
+
+            but refused to account for the money and
+
+            was given a berth in the county jail.
+
+              Samuel Benson, cashier of the First Na-
+
+            tional, is sure that the two 100-dollar
+
+            bills which were found on Johnson are the
+
+            same bills that he gave to Mrs. Buckthorn
+
+            yesterday afternoon. Johnson will be
+
+            given a hearing to-morrow but it is al-
+
+            ready considered certain that he is the
+
+            guilty party, the evidence being so strong.
+
+              (This story may be rewritten for local
+            use and for a dispatch.)
+
+
+                              ----------
+
+
+
+                                 III
+
+              Sparks, resulting from the grounding
+
+            of an electric wire, ignited a bucket of gas-
+
+            olene and fired the shop of the G. W.
+
+            Smith Motor Co., at 228, 232 West street
+
+            last night, five automobiles valued at
+
+            $5,800 being destroyed and the building
+
+            being damaged to the extent of 6,200 dol-
+
+            lars by fire.
+
+              The insulation on the wires of an exten-
+
+            sion light that Edward Flasch, one of the
+
+            repair men was using became cracked, the
+
+            wire grounding as a result. The sparks
+
+            fell into a bucket of gasolene standing
+
+            nearby and in a few minutes the entire
+
+            building was ablaze. G. W. Smith, pro-
+
+            prietor of the garage, said that he was sit-
+
+            ting in his office at the time of the explo-
+
+            sion and tried to put the fire out with sand
+
+            but could not get the blaze under any con-
+
+            trol. He then started to run out as many
+
+            machines as possible.
+
+              Six cars, valued at $9,000 were saved.
+
+
+                              ----------
+
+
+
+                                  IV
+
+              Madison, September 25th, 1912; With
+
+            a loud deafening roar that violently
+
+            aroused hundreds from their beds of slum-
+
+            ber the monster gas holder occuppying
+
+            the southwest corner of South Blount and
+
+            Main Streets at the gasplant of the Madi-
+
+            son Gas and Electric Company collapsed
+
+            very suddenly at 6:sO a. m. this morning,
+
+            and now lies partly submerged in water,
+
+            a total wreck. The damage will be fully
+
+            25,000 dollars, but there will be no inter-
+
+            ruption to the service the company's excel-
+
+            lent reserve equippment being immediately
+
+            brought into action for the emergency.
+
+            The cause of the explosion was at first
+
+            clothed in deep mystery before the officials
+
+            of the company had time to make any in-
+
+            vestigation.
+
+              However it was definitely ascertained
+
+            during the morning when Mr. John W.
+
+            Jackson, the secretary and treasurer of the
+
+            company, being interviewed by a Daily
+
+            News correspondent this morning, stated
+
+            that the immense quantities of snow on
+
+            the roof of the holder was primarily re-
+
+            sponsible. The weight of the snow on
+
+            one side of the holder causing it to drop
+
+            down broke the wheel and pushed the
+
+            holder off the foundation on which it was
+
+            standing. There was a momentary blaze
+
+            but when the tank settled down into the
+
+            reservoir below the fire went out and the
+
+            awful peril from this highly dangerous
+
+            source was fortunately averted.
+
+              As it was dozens of windows at the
+
+            planing mill on the opposite side of the
+
+            street were all left intact. In fact no dam-
+
+            age whatsoever outside of the holder re-
+
+            sulted from the unfortunate accident.
+
+            Two workmen, Jacob Casey and Nelson
+
+            Jones, were unfortunately caught beneath
+
+            the wreckage and their bodies were
+
+            removed later in the morning by the fire
+
+            department. The tank was full when it
+
+            collapsed and that it did not scatter de-
+
+            struction and take more innocent lives
+
+            was one of the fortunate features of the
+
+            accident and a great cause for congratula-
+
+            tion among the officials of the company
+
+            today.
+
+              (This story illustrates, among other
+            things, excessive wordiness.)
+
+
+                              ----------
+
+
+
+                                  V
+
+              After being chased by a young woman
+
+            for several blocks, a man who gave his
+
+            name as John Weber, was pursued through
+
+            a saloon at 11-97th street by Policeman
+
+            Arthur Brown and captured on the roof of
+
+            a building adjoining the saloon, where the
+
+            man had hidden behind a chimney. Weber
+
+            was arrested by the policeman and is held
+
+            on a charge preferred by Charles Young, a
+
+            grocer at 2145 Sixth avenue, of attempt-
+
+            ing to rob Young's grocery store.
+
+
+              According to Young, just before he
+
+            closed his store for the night last evening,
+
+            a young man entered the store and asked
+
+            for a pound of butter. "I thought," said
+
+            Young, "that the man was just married
+
+            and might be a possible new customer. I
+
+            started for the back of the store to open a
+
+            new tub but just as I turned to go, he hit
+
+            me over the head with his cane. The
+
+            blow dazed me but I still had sense enough
+
+            to grab him by the collar. In the fight we
+
+            both fell through the glass door at the
+
+            front of the store and the d--n rascal got
+
+            away." A young woman, who was pass-
+
+            ing the store, seeing the fracas, screamed
+
+            and started to run after the young man.
+
+            She followed him until he ran into a sa-
+
+            loon. Then she ran up to Policeman
+
+            Brown, who was standing at the corner of
+
+            97th st. and Sixth-av and told him that a
+
+            robber had gone into the saloon. The po-
+
+            liceman ran into the saloon, but found the
+
+            man had left by the back stairs. The po-
+
+            liceman followed up two flights of stairs
+
+            leading to the roof, on the run, where he
+
+            found Weber hiding behind a chimney.
+
+            Weber refused to give his address.
+
+
+              After watching until she saw the robber
+
+            taken away in the paddy-wagon, the
+
+            doughty young woman disappeared. Her
+
+            name is unknown.
+
+
+                              ----------
+
+
+
+                                 VI
+
+              A burglar dressed in a Salvation Army
+
+            uniform was arrested for attempting to
+
+            burglarize Walter White's home, 16 West
+
+            62nd st. at about two o'clock last night.
+
+            He gave his name as Julius Woll and his
+
+            address as 129 23rd ave.
+
+
+              The caretaker at Walter White's said
+
+            he was awakened at 1 o'clock by the noise
+
+            of bureau drawers opening and he at once
+
+            phoned to the station. An officer came
+
+            and found the would-be burglar under the
+
+            bed. After considerable scuffling the man
+
+            was arrested and taken to the station.
+
+              The Salvation Army denied any connec-
+
+            tion with the prisoner but the landlady at
+
+            his address said he had two uniforms and
+
+            always wore one. He also carried a
+
+            prayer book under his arm whenever he
+
+            left his room. She also said that he had
+
+            resided in her house for six weeks and
+
+            owed four weeks board; also that he had
+
+            not been there for two weeks. Inquiry
+
+            proved that he was out regularly until
+
+            three or four in the morning.
+
+
+                              ----------
+
+
+
+                                 VII
+
+              The wedding of Mr. James Henry,
+
+            1463 Seventh Street, and Miss Sarah
+
+            Jones, last night at the home of the bride's
+
+            parents, at 316 North Johnson Street, was
+
+            a brilliant success.
+
+              Fifty guests were present and the pres-
+
+            ents which they brought all but filled the
+
+            parlor. After the ceremony a seven-
+
+            course banquet was served until 11:30
+
+            o'clock. Miss Sadie Jones rendered "The
+
+            Rosary" to the accompaniment of Mr.
+
+            John Field.
+
+              The bride wore a gown of pink taffeta
+
+            and carried sweet peas. The bridesmaid,
+
+            Lily Swenk, was dressed in white muslin.
+
+            The groom and best man, Mr. Arthur
+
+            Howles, wore conventional black. Rev.
+
+            Stone of the First M. E. church officiated.
+
+              The groom is a promising young law-
+
+            yer of this city. His bride is one of the
+
+            city's leading young society woman, being
+
+            deeply interested in the Womans' Suf-
+
+            frage League. There marriage is the re-
+
+            sult of a love affair begun at the univer-
+
+            sity and is the cause of heart-felt congrat-
+
+            ulations from their friends. After a trip
+
+            to the Coast, the happy couple will reside
+
+            in this city.
+
+
+                              ----------
+
+
+
+                                 VIII
+
+              "What we need in our universities are
+
+            sportsmen and not sports," said President
+
+            G. E. Gilbert of the Western University,
+
+            in the convocation address yesterday aft-
+
+            ernoon at four o'clock. "The sportsman
+
+            plays for the game, but the sport plays for
+
+            the victory."
+
+              The President continued, "Before the
+
+            battle, and during the battle, the
+
+            sportsman can be told from the sport."
+
+            It is the actions of the man, he
+
+            said, when he is in the test that determine
+
+            to which class he belongs. The President
+
+            summarized the various college
+
+            activities and showed how the two
+
+            classes of men appear in each different
+
+            activity. And in each, as the President
+
+            said, "you can tell the sportsman from the
+
+            sport."
+
+              "I think that this, the relation between
+
+            the sportsman and the sport, is the truest
+
+            analogy that can be applied to human life.
+
+            Life as a sea, life as a battle, life as a river
+
+            in which you must always paddle your
+
+            own canoe upstream, life as a hill-climbing
+
+            contest--all these analogies have their
+
+            weaknesses. But life as a game is a true
+
+            analogy."
+
+              The President concluded with a glowing
+
+            tribute to our university.
+
+
+                              ----------
+
+
+
+                                  IX
+
+                             FAULTY LEADS
+
+              Evading the police by sliding down a
+
+            rope fire escape from a hotel window, Jo-
+
+            seph Matus, charged with robbing a lum-
+
+            ber jack of $125, escaped the police
+
+            temporily only to be arrested an hour
+
+            later at the Chicago, Milwaukee and St.
+
+            Paul depot.
+
+                              ----------
+
+              Ignited by the breaking of an electric
+
+            lamp, a tank of whiskey containing 7,705
+
+            gallons exploded and threw Francis Tab,
+
+            120 W. 139th St., thirty feet against the
+
+            opposite wall at the E. J. Jimkons Com-
+
+            pany, 40th street this morning.
+
+                              ----------
+
+              Fire of unknown origin started in the
+
+            big lumber yards owned by Charles John-
+
+            son at 763 Clinton Avenue, yesterday aft-
+
+            ernoon. The yards and one million feet
+
+            of lumber were totally destroyed. The
+
+            entire district between Mitchell street and
+
+            the South River was in danger of total
+
+            destruction, according to fire Chief Casey.
+
+                              ----------
+
+              Fire starting in a shed on West street
+
+            caused the total destruction of the First
+
+            Baptist church and the death of two fire-
+
+            men killed by falling walls. Loss $120,-
+
+            000.
+
+                              ----------
+
+              Trade war is the only probable result
+
+            of the abrogation of the Russian treaty,
+
+            was the statement of the Hon. Frank J.
+
+            Blank, secretary of State, before a large
+
+            and enthusiastic audience at the opera
+
+            house last evening. 1800 people packed
+
+            the building to overflowing.
+
+                              ----------
+
+              John Jones, a workman, who was
+
+            slightly injured when a thousand pounds
+
+            of powder exploded and wrecked the
+
+            Three-Ex Powder mill last night, was
+
+            taken to the St. James hospital.
+
+                              ----------
+
+              The presence of mind and coolness of
+
+            Mrs. J. B. Sweeny, 758 North Street,
+
+            saved little Johnny Sweeny from death
+
+            last night when she caught him by the
+
+            coattail and dragged him from beneath
+
+            the fender of a street car. Mrs. Sweeny
+
+            was dragged 50 feet by the car and taken
+
+            to the St. Luke's hospital in an ambulance
+
+            that was hastily summoned.
+
+                              ----------
+
+              Falling through a street car window
+
+            without receiving so much as a bruise was
+
+            the unusual experience of Michael Casey
+
+            last night on Main Street. Michael was
+
+            not intoxicated--so he says.
+
+                              ----------
+
+              Recklessly driving his automobile over
+
+            the curb on Smith street, Mr. James
+
+            White, who resides at 764 Smith street,
+
+            was fatally hurt by a careless chauffeur,
+
+            who was unable to handle his machine
+
+            and skidded at the corner near Mr.
+
+            White's home.
+
+                              ----------
+
+              At a meeting of the Sane Fourth com-
+
+            mittee in the city library last evening
+
+            at seven thirty, it was decided that Smith-
+
+            town must pass a law forbidding the sale
+
+            and use of cannon crackers.
+
+
+
+
+INDEX
+
+
+    A
+
+    Abbreviations, 287.
+    Accidents, 3, 107-109, 291.
+    Accuracy, 145, 168, 209, 212, 290.
+    Addresses, style of, 278, 279, 286, 288, 290, 310.
+    Advertising, 28.
+    Ages, how written, 286.
+    Animal story, 253.
+    Announcements, of engagements, 210;
+      social, 212;
+      stories on, 121;
+      wedding, 209.
+    Article beginning, 43, 80.
+    Assignments, 5, 29.
+    Associated Press, 10.
+    Association, City Press, 10, 193.
+    Athletic news, 219-232, 278, 283.
+
+
+    B
+
+    Baseball stories, 219.
+    Beat, or run, 5, 29.
+    Beat, or scoop, 6, 30.
+    Beginning of lead, 80, 89;
+      with article, 43, 80;
+      with name, 57, 85, 161, 175, 180, 195, 249;
+      with time, 47.
+    Beginnings of court reports, 195-200;
+      of human interest stories, 244-250;
+      of interview stories, 179-187;
+      of speech reports, 151-164.
+    Big story, 5, 31;
+      following-up of, 140;
+      handling of, 116;
+      resulting interviews from, 176, 187.
+    Bills, stories on legislative, 121.
+    Body of the story, 45, 76;
+      discussion of, 91;
+      of court reports, 200;
+      of follow stories, 129;
+      of human interest stories, 250;
+      of interview stories, 185;
+      of news stories, 122;
+      of obituaries, 216;
+      of speech reports, 164.
+    Book, of tips, 3, 295;
+      style, 33, 276-293.
+    Box, 32, 188.
+    Break, to, 31.
+    Brevity, 13, 206, 217, 231.
+    Brief summary athletic story, 222.
+    Bulletins, stories on, 121.
+    Business office, 28.
+
+
+    C
+
+    Capitalization, 276-281.
+    Circulation, 15, 28.
+    City editor, 2, 29.
+    City Press Association, 10, 193.
+    Classes of readers, 16.
+    Clause beginning of lead, 82.
+    Clean copy, 30.
+    Clearness, 91, 104, 123.
+    Clippings, 295.
+    Coherence, 166, 266.
+    Column, 32.
+    Compositor, 30.
+    Compounds and divisions of words, 285.
+    Concreteness, 104, 293.
+    Conferences, reports of, 119.
+    Continued case beginning, 196.
+    Coöperation in newsgathering, 10, 193.
+    Copy, 30;
+      preparation of, 289.
+    Copyreader, 29.
+    Copyreading, 311.
+    Corrected, stories to be, 311.
+    Correspondent, work of, 2;
+      instructions to, 11, 223.
+    Court reporting, 4;
+      discussion of, 192-203, 281.
+    Cover, to, 29.
+    Crime, stories on, 110-116.
+    Criticism, dramatic, 259-275.
+    Crowd, used as feature, 68.
+    Cub reporter, 28.
+    Cynicism, 235, 252.
+
+
+    D
+
+    Datelines, 283, 310.
+    Dates, how written, 278, 286, 290.
+    Day city editor, 29.
+    Dead, lists of, 63.
+    Death element, 3, 22, 61, 73, 107.
+    Decisions, reports of, 119.
+    Definiteness, 104.
+    Desk man, 29.
+    Despatch, 12, 222.
+    Dialogue, use of, 103;
+      in court reports, 200;
+      in human interest stories, 245, 251;
+      rules for, 283.
+    Dictation of stories, 298.
+    Diction, 290-293.
+    Directories, stories on, 121.
+    Distance, effect of, 11, 20.
+    Division of words, 285.
+    _Don'ts_, in dramatic reporting, 265;
+      in general, 290;
+      in leads, 85-90.
+    _Down_ style, 33.
+    Dramatic reporting, 259-275.
+
+
+    E
+
+    Editing, 30, 144.
+    Editor, 29;
+      day or night city, 2, 29;
+      sporting, 29, 219;
+      state, 2;
+      Sunday, 29;
+      telegraph, 2, 29.
+    Editorial room, 28.
+    Editorial writers, 29.
+    Elections, 3, 277, 281, 288.
+    Emphasis, 102.
+    Engagement announcements, 210.
+    Entertainments, reports of, 210.
+    Exaggeration, 22, 89.
+    Expected news, 3.
+
+
+    F
+
+    Faults in news stories, 75-104.
+    Faulty stories to be corrected, 311.
+    Feature, the, 27, 31, 37, 41, 50, 106-122, 125, 150, 175, 195,
+    228, 244, 266;
+      crowd as, 68;
+      death as, 61, 73;
+      exaggeration for, 89;
+      fire fighting as, 67;
+      _how_, 57;
+      in accident stories, 107;
+      in football stories, 219-232;
+      in human interest stories, 233-255;
+      in murder stories, 114;
+      in police stories, 118;
+      in robbery stories, 110;
+      in speech reports, 150;
+      in suicide stories, 115;
+      injuries as, 65;
+      more than one, 70;
+      playing up of, 27, 31;
+      property threatened as, 66;
+      rescues as, 65;
+      unexpected attendant circumstances as, 60;
+      _what_, 55;
+      _when_, 54;
+      _where_, 52;
+      _who_, 57;
+      _why_, 51.
+    Feature fire story, 50-74.
+    Feature social story, 213.
+    Feature story, the special, 31, 255.
+    Featureless fire story, 41-49.
+    Figures, news value of, 24;
+      use of, 283, 286, 290.
+    Fine writing, 124, 213, 218, 251.
+    Fire story, 39, 41, 50, 75, 105, 122.
+    Fires, 3, 4, 7, 39, 41, 50, 75, 105, 122.
+    Follow, or follow-up, story, 32;
+      relation of, to court reports, 197;
+      relation of, to interviews, 187;
+      writing of, 125, 130-140.
+    Following up related subjects, 140.
+    Football stories, 219-232.
+    Form of the news story, 34-40.
+    Freak leads in speech reports, 163.
+
+
+    G
+
+    Gathering the news, 1-13;
+      in athletic reporting, 230;
+      in court reporting, 193;
+      in human interest stories, 234;
+      in interviewing, 169;
+      in reporting speeches, 144.
+    Generalities, meaningless, 89.
+    Gist, 31, 36, 233, 243, 266.
+    Grammar, 78, 84, 123.
+    Group interviews, 187.
+
+
+    H
+
+    Heads, headlines, 27, 30, 78, 188.
+    Hospitals, as news sources, 4.
+    _How_, feature in, 57.
+    Human interest stories, 17, 24, 32, 178, 185, 191, 198;
+      discussion of, 233-255.
+    Humor, 24, 198, 214, 241.
+    Humorous story, 241.
+
+
+    I
+
+    Infinitive beginning of lead, 81.
+    Injuries, feature in, 65;
+      list of, 64.
+    Instructions to correspondents, 12.
+    Interest, 14, 35, 92, 102, 104, 141, 179, 192;
+      human, 17, 24, 32, 178, 185, 191, 198, 233-255.
+    Interview stories, 175-191.
+    Interviews, for facts, 6, 103;
+      for opinions, 6, 141, 169-191;
+      group, 187.
+
+
+    K
+
+    Keynote beginning of speech report, 158.
+    Killing a story, 30.
+
+
+    L
+
+    Lead, 31;
+      beginning of, 80, 89;
+      _don'ts_ in, 85-90;
+      in athletic stories, 223, 227;
+      in court reports, 195-200;
+      in fire stories, 39, 42, 50, 77-90;
+      in follow stories, 127-140;
+      in human interest stories, 233;
+      in interview stories, 179-185, 188;
+      in obituary stories, 214;
+      in other news stories, 106;
+      in speech reports, 147-164;
+      length of, 75;
+      main verb of, 86.
+    Leaded, 32.
+    Length, of lead, 75;
+      of paragraphs, 75;
+      of sentences, 76.
+    Line-up of teams, 232.
+    Linotype, 30.
+    Lists of dead and injured, 63;
+      of guests, patronesses, etc., 211, 282;
+      of names, 282.
+    Local interest, 21, 26.
+    Long football story, 226.
+    Loss of life, 22, 61, 73;
+      of property, 23, 55.
+
+
+    M
+
+    Mailing stories, 13.
+    Main verb of lead, 86.
+    Make-up, making up, 31, 37.
+    Manner, reporter's, 172.
+    Marriages, 206.
+    Meaningless generalities, 89.
+    Meetings, reports of, 3, 119, 291.
+    Money, sums of, 281, 286, 290.
+    Morgue, 4, 216.
+    "Mr.", use of, 287, 292, 310.
+    Murders, 113.
+
+
+    N
+
+    Name beginning, in court reports, 195;
+      in human interest stories, 249;
+      in interview stories, 175, 180;
+      in news stories, 57, 85, 108-116;
+      in speech reports, 161.
+    Names, prominent, 23, 57, 108-116, 150, 161, 178;
+      use of, 276, 277, 280-283.
+    Narrative order, in athletic stories, 227;
+      in court reports, 200;
+      in human interest stories, 250;
+      in interview stories, 185;
+      in news stories, 34-40, 92-102;
+      in obituaries, 215;
+      in speech reports 166;
+      in wedding stories, 207.
+    News, 14-27, 125;
+      agencies for gathering, 10, 193;
+      coöperation in gathering, 10, 193;
+      expected and unexpected, 3;
+      gathering of, 1-13, 144, 169, 193, 230, 234;
+      sources of, 4, 29;
+      sporting, 219-232, 278, 283.
+    New story, 34-124.
+    News story form, 34-40.
+    News tips, 3, 30, 295.
+    News values, 11, 14-27, 38, 41, 204, 233.
+    Newspaper terms, 28-33.
+    Night city editor, 29.
+    Nose for news, viii.
+    Notebook, 170.
+    Note taking, in athletic reporting, 230;
+      in court reporting, 194;
+      in dramatic reporting, 267;
+      in interviewing, 170;
+      in speech reporting, 144.
+    Noun beginning of lead, 80.
+
+
+    O
+
+    Obituaries, 214.
+    Order of narrative (see Narrative order).
+    Outlining of a story, 99.
+
+
+    P
+
+    Paragraph length, 75, 290.
+    Paragraphing, 48, 75, 166, 186, 290.
+    Participial phrase beginning for lead, 83, 158.
+    Parts of a news story, 46, 76, 91.
+    Pathetic story, 238.
+    Pathos, 24, 198, 238.
+    Personal appeal, 25, 249.
+    Personal news, 20, 204.
+    Photographs, 13.
+    Playing up, 31;
+      of the feature, 27, 31.
+    Point of view of newspaper, 8.
+    Police court news, 4, 118.
+    Policy, 26.
+    Political news, 25.
+    Practice, 294.
+    Preparation of copy, 289.
+    Prepositional phrase beginning, 82.
+    Press Associations, 10, 193.
+    Printed matter, stories on, 121.
+    Prominent names, 23, 57, 108-116, 150, 161, 178.
+    Proof, 30.
+    Proofreader's signs, 32, 290.
+    Property losses as features, 23, 55.
+    Property threatened as feature, 66.
+    Public records, 4.
+    "Punch," 13.
+    Punctuation, 281.
+    Purpose of newspapers, 14.
+
+
+    Q
+
+    Q. & A. testimony, 201, 283, 288.
+    Queries, 12.
+    Questions, reader's customary, as features, 51;
+      in fire stories, 38, 42, 50, 77;
+      in follow stories, 132;
+      in human interest stories, 233;
+      in interview stories, 179;
+      in obituaries, 215;
+      in other news stories, 106;
+      in speech reports, 150.
+    Quotation beginnings, direct, 151, 153, 183, 198, 245;
+      indirect, 154.
+    Quotations, 103, 146, 164, 186, 189, 200, 284.
+    Quoting, rules for, 284.
+
+
+    R
+
+    Range of news sources, 20.
+    Readers, classes of, 16.
+    Reader's customary questions. _See_ Questions.
+    Receptions, 210, 291.
+    Rehashing, 125-130.
+    Related stories, 140, 176, 187.
+    Releasing a story, 31, 144.
+    Reporter, 2, 28, 170, 186, 219, 235, 258, 259, 292.
+    Reporting court news, 192-202, 281.
+    Reports, dramatic, 259-275;
+      of meetings, conferences, decisions, etc., 119;
+      of speeches, sermons, lectures, etc., 143-168.
+    Rescues as features, 65.
+    Rewrite man, 125.
+    Rewrite story, 32, 125-130.
+    Robberies, 110, 291.
+    Runs, or beats, 5, 29.
+    Running a story, 30.
+    Running story, 31, 189, 200, 223, 227.
+
+
+    S
+
+    Sarcasm, 274.
+    Scoop, or beat, 6, 30.
+    Season story, 257.
+    Second day story, 32, 125, 130-140.
+    Sensationalism, 18, 90, 234.
+    Sentence length, 76.
+    Sermons, reports of, 3, 143-168.
+    Set up, to, 30.
+    Simple fire story, 40-49.
+    Slang, 28, 292.
+    Slash, to, 37, 92.
+    Slug, 30.
+    Sob squad, 236.
+    Social announcements, 212.
+    Social news, 204-214.
+    Sources of news, 4, 29.
+    Speaker beginning, 161, 180.
+    Special feature story, 255.
+    Speech reports, 3, 143-168, 284, 291.
+    Sporting editor, 29, 219.
+    Sporting news, 219-232.
+    Staff, 28.
+    State editor, 2.
+    Stenographic reports, 144, 194.
+    Stickful, 32.
+    Stories to be corrected, 311.
+    Storms, 3, 116.
+    Story, 30;
+      baseball, 219-232;
+      big, _see_ Big story;
+      body of, _see_ Body of the story;
+      faults in news, 75-104;
+      feature fire, 50-74;
+      fire, 38, 40, 105, 122;
+      follow, follow-up, or second day, 32, 125, 130-140;
+      form of news, 34-40;
+      news, 34-40, 50, 75, 105-124;
+      on announcements, bulletins, and other printed matter, 121;
+      on legislative bills, 121;
+      parts of news, 45, 76, 91;
+      police court, 118;
+      related, 140;
+      rewrite, 32, 125-130;
+      running, 31, 189, 200, 223, 227;
+      simple fire, 41-49;
+      special feature, 255;
+      summary athletic, 222;
+      unusual social, 213.
+    Street numbers, 278, 279, 286, 288, 290, 292, 310.
+    Style, 13, 33, 103, 233, 251.
+    Style Book, 33, 276-293.
+    Suggestions for study, 4, 294.
+    Suicide stories, 115, 291.
+    Summary beginning, for court reports, 197;
+      for interview stories, 182, 188;
+      for speech reports, 157.
+    Sums of money, 281, 286, 290.
+    Sunday editor, 29.
+    Superlatives, 222, 292.
+
+
+    T
+
+    Tables of athletic results, 232, 283.
+    Taking notes. _See_ Note taking.
+    Telegraph editor, 2, 29.
+    Telegraph queries, 12.
+    Telephone, use of, 13.
+    Terms, newspaper, 28-33.
+    Testimony, 200.
+    _That_-clause beginning, in interview stories, 182;
+      in speech reports, 154.
+    Theatrical news, 259-275, 284.
+    Time, indication of, 281, 286.
+    Time beginning, 47.
+    Timeliness, in general, 19;
+      in human interest stories, 238, 256, 286;
+      in interviews, 176, 187.
+    Tips, 3, 30, 295.
+    Title beginning of speech report, 160.
+    Titles, use of, 276, 277, 279, 282, 284, 287, 290, 292.
+    Track news, 219, 223.
+    Truthfulness, 8;
+      in general, 290;
+      in human interest stories, 239;
+      in interviewing, 179;
+      in speech reporting, 145, 168.
+    Typewriter, use of, 289.
+
+
+    U
+
+    Unexpected attendant circumstances, 60.
+    Unexpected news, 2.
+    Uniformity, 33, 34, 289.
+    United Press, 10.
+    Unusual social stories, 213.
+    Unusualness, 24, 213.
+    _Up_ style, 33.
+    Uplift run, 236, 254.
+    Usual football story, 223.
+
+
+    V
+
+    Values, news, 11, 14, 27, 38, 41, 204, 233.
+    Vaudeville reports, 264.
+    Vernacular, newspaper, 28.
+    Vividness, 104, 114, 116.
+
+
+    W
+
+    Weather story, 256.
+    Wedding announcements, 209.
+    Wedding story, 206.
+    _What_, as feature, 55.
+    _When_, as feature, 54.
+    _Where_, as feature, 52.
+    _Who_, as feature, 57.
+    _Why_, as feature, 51.
+    Wordiness, 87.
+
+
+    Y
+
+    Yarn, 30.
+
+
+    +---------------------------------------------------------------+
+    |Transcriber's Note:                                            |
+    |                                                               |
+    |Inconsistencies in spelling, hyphenation, punctuation and in   |
+    |spacing in abbreviations have been retained as in the original,|
+    |along with deliberate misspellings and errors in "News Stories |
+    |to be Corrected" in Appendix II.                               |
+    +---------------------------------------------------------------+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Newspaper Reporting and Correspondence, by 
+Grant Milnor Hyde
+
+*** END OF THIS PROJECT GUTENBERG EBOOK NEWSPAPER REPORTING ***
+
+***** This file should be named 25968-8.txt or 25968-8.zip *****
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+
+The Project Gutenberg EBook of Newspaper Reporting and Correspondence, by 
+Grant Milnor Hyde
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Newspaper Reporting and Correspondence
+       A Manual for Reporters, Correspondents, and Students of
+              Newspaper Writing
+
+Author: Grant Milnor Hyde
+
+Release Date: July 4, 2008 [EBook #25968]
+
+Language: English
+
+Character set encoding: ISO-8859-1
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NEWSPAPER REPORTING ***
+
+
+
+
+Produced by Jacqueline Jeremy and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/American Libraries.)
+
+
+
+
+
+
+</pre>
+
+
+
+<p class="tp top"><span class="title">NEWSPAPER REPORTING
+AND CORRESPONDENCE</span><br />
+<br />
+<span class="sub">A MANUAL FOR REPORTERS,<br />
+CORRESPONDENTS, AND STUDENTS<br />
+OF NEWSPAPER WRITING</span><br />
+<br />
+<span class="by">BY</span><br />
+<br />
+<span class="author">GRANT MILNOR HYDE, M.A.</span><br />
+
+<span class="position">INSTRUCTOR IN JOURNALISM IN THE<br />
+UNIVERSITY OF WISCONSIN.</span></p>
+
+
+
+<div class="figc" style="width: 100px;">
+<img src="images/logo.jpg" width="100" height="105" alt="" title="" />
+</div>
+
+<p class="tp"><span class="pub">NEW YORK AND LONDON<br />
+D. APPLETON AND COMPANY<br />
+1912</span></p>
+
+<hr class="hr2" />
+
+<p class="tp"><small><span class="smcap">Copyright, 1912, by</span></small><br />
+D. APPLETON AND COMPANY<br />
+<br />
+<small>Printed in the United States of America</small></p>
+
+<hr class="hr3" />
+
+
+
+<p class="tp"><small>TO</small><br />
+MY MOTHER</p>
+
+
+
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_vii" id="Page_vii">[vii]</a></span>
+INTRODUCTION</h2>
+
+
+<p>The purpose of this book is to instruct the prospective
+newspaper reporter in the way to write those
+stories which his future paper will call upon him to
+write, and to help the young cub reporter and the
+struggling correspondent past the perils of the copyreader's
+pencil by telling them how to write clean
+copy that requires a minimum of editing. It is not
+concerned with the <em>why</em> of the newspaper business&mdash;the
+editor may attend to that&mdash;but with the <em>how</em>
+of the reporter's work. And an ability to write is
+believed to be the reporter's chief asset. There is
+no space in this book to dilate upon newspaper organization,
+the work of the business office, the writing
+of advertisements, the principles of editorial
+writing, or the how and why of newspaper policy
+and practice, as it is. These things do not concern
+the reporter during the first few months of his work,
+and he will learn them from experience when he
+needs them. Until then, his usefulness depends
+solely upon his ability to get news and to write it.</p>
+
+<p>There are two phases of the work which every
+reporter must learn: how to get the news and how<span class="pagenum"><a name="Page_viii" id="Page_viii">[viii]</a></span>
+to write it. The first he can pick up easily by actual
+newspaper experience&mdash;if nature has endowed him
+with "a nose for news." The writing of the news
+he can learn only by hard practice&mdash;a year's hard
+practice on some papers&mdash;and it is generally conceded
+that practice in writing news stories can be
+secured at home or in the classroom as effectively as
+practice in writing short stories, plays, business letters,
+or any other special form of composition.
+Newspaper experience may aid the reporter in learning
+how to write his stories, but a newspaper apprenticeship
+is not absolutely necessary. However,
+whether he is studying the trade of newspaper writing
+in his home, in a classroom, or in the city room
+of a daily paper, he needs positive instruction in the
+English composition of the newspaper office&mdash;rather
+than haphazard criticism and a deluge of "don'ts."
+Hence this book is concerned primarily with the
+writing of the news.</p>
+
+<p>Successful newspaper reporting requires both an
+ability to write good English and an ability to write
+good English in the conventional newspaper form.
+And there is a conventional form for every kind of
+newspaper story. Many editors of the present day
+are trying to break away from the conventional form
+and to evolve a looser and more natural method of
+writing news stories. The results are often bizarre<span class="pagenum"><a name="Page_ix" id="Page_ix">[ix]</a></span>
+and sometimes very effective. Certainly originality
+in expression adds much to the interest of newspaper
+stories, and many a good piece of news is
+ruined by a bald, dry recital of facts. Just as the
+good reporter is always one who can give his yarns
+a distinctive flavor, great newspaper stories are seldom
+written under the restriction of rules. But no
+young reporter can hope to attain success through
+originality and defiance of rules until he has first
+mastered the fundamental principles of newspaper
+writing. He can never expect to write "the story
+of the year" until he has learned to handle everyday
+news without burying the gist of his stories&mdash;any
+more than an artist can hope to paint a living portrait
+until he has learned, with the aid of rules, to
+draw the face of a plaster block-head. Hence the
+emphasis upon form and system in this book. And,
+whatever the form may be, the embodiment must be
+clear, concise, grammatical English; that is the excuse
+for the many axioms of simple English grammar
+that are introduced side by side with the study
+of the newspaper form.</p>
+
+<p>The author offers this book as the result of personal
+newspaper experience and of his work as instructor
+in classes in newspaper writing at the University
+of Wisconsin. Every item that is offered
+is the result of an attempt to correct the mistakes<span class="pagenum"><a name="Page_x" id="Page_x">[x]</a></span>
+that have appeared most often in the papers of students
+who are trying to do newspaper writing in
+the classroom. The seemingly disproportionate emphasis
+upon certain branches of the subject and the
+constant repetition of certain simple principles are
+to be excused by the purpose of the book&mdash;to be a
+text-book in the course of study worked out in this
+school of journalism. The use of the fire story as
+typical of all newspaper stories and as a model for
+all newspaper writing is characteristic of this method
+of instruction. Four chapters are devoted to the
+explanation of a single principle which any reader
+could grasp in a moment, because experience has
+shown that an equivalent of four chapters of study
+and practice is required to teach the student the application
+of this principle and to fix it in his mind
+so thoroughly that he will not forget it in his later
+work of writing more complicated stories. It is
+felt that the beginner needs and must have the detailed
+explanation, the constant reiteration and some
+definite rules to guide him in his practice. Hence
+the emphasis upon the conventional form. Since,
+in the application of the newspaper principle of beginning
+with the gist of the story, the structure of
+the lead is of greater importance than the rest of the
+story, this book devotes the greater part of its discussion
+to the lead.</p>
+
+<p><span class="pagenum"><a name="Page_xi" id="Page_xi">[xi]</a></span>
+The suggestions for practice are attached in an
+attempt to give the young newspaper man some
+<em>positive</em> instruction. Most reporters are instructed
+by a system of "don'ts," growled out by busy editors;
+most correspondents receive no instruction at
+all&mdash;a positive suggestion now and then cannot but
+help them both. Practice is necessary in the study of
+any form of writing; these suggestions for practice
+embody the method of practice used in this school
+of journalism. The examples are taken from representative
+papers of the entire country to show the
+student how the stories are actually written in newspaper
+offices.</p>
+
+<p><span class="i2">Madison, Wisconsin,</span><br />
+<span class="i6">June 3, 1912.</span><br />
+</p>
+
+
+
+<hr />
+
+<h2><a name="con" id="con"></a>CONTENTS</h2>
+
+<table summary="Contents">
+<tr>
+<th class="tdd">CHAPTER</th>
+<th class="tdc" colspan="2">PAGE</th>
+</tr>
+<tr>
+<td class="tda">I.</td>
+<td class="tde"><span class="smcap">Gathering the News</span></td>
+<td class="tdc"><a href="#i">1</a></td>
+</tr>
+<tr>
+<td class="tda">II.</td>
+<td class="tde"><span class="smcap">News Values</span></td>
+<td class="tdc"><a href="#ii">14</a></td>
+</tr>
+<tr>
+<td class="tda">III.</td>
+<td class="tde"><span class="smcap">Newspaper Terms</span></td>
+<td class="tdc"><a href="#iii">28</a></td>
+</tr>
+<tr>
+<td class="tda">IV.</td>
+<td class="tde"><span class="smcap">The News Story Form</span></td>
+<td class="tdc"><a href="#iv">34</a></td>
+</tr>
+<tr>
+<td class="tda">V.</td>
+<td class="tde"><span class="smcap">The Simple Fire Story</span></td>
+<td class="tdc"><a href="#v">41</a></td>
+</tr>
+<tr>
+<td class="tda">VI.</td>
+<td class="tde"><span class="smcap">The Feature Fire Story</span></td>
+<td class="tdc"><a href="#vi">50</a></td>
+</tr>
+<tr>
+<td class="tda">VII.</td>
+<td class="tde"><span class="smcap">Faults in News Stories</span></td>
+<td class="tdc"><a href="#vii">75</a></td>
+</tr>
+<tr>
+<td class="tda">VIII.</td>
+<td class="tde"><span class="smcap">Other News Stories</span></td>
+<td class="tdc"><a href="#viii">105</a></td>
+</tr>
+<tr>
+<td class="tda">IX.</td>
+<td class="tde"><span class="smcap">Follow-up and Rewrite Stories</span></td>
+<td class="tdc"><a href="#ix">125</a></td>
+</tr>
+<tr>
+<td class="tda">X.</td>
+<td class="tde"><span class="smcap">Reports of Speeches</span></td>
+<td class="tdc"><a href="#x">143</a></td>
+</tr>
+<tr>
+<td class="tda">XI.</td>
+<td class="tde"><span class="smcap">Interviews</span></td>
+<td class="tdc"><a href="#xi">169</a></td>
+</tr>
+<tr>
+<td class="tda">XII.</td>
+<td class="tde"><span class="smcap">Court Reporting</span></td>
+<td class="tdc"><a href="#xii">192</a></td>
+</tr>
+<tr>
+<td class="tda">XIII.</td>
+<td class="tde"><span class="smcap">Social News and Obituaries</span></td>
+<td class="tdc"><a href="#xiii">204</a></td>
+</tr>
+<tr>
+<td class="tda">XIV.</td>
+<td class="tde"><span class="smcap">Sporting News</span></td>
+<td class="tdc"><a href="#xiv">219</a></td>
+</tr>
+<tr>
+<td class="tda">XV.</td>
+<td class="tde"><span class="smcap">Human Interest Stories</span></td>
+<td class="tdc"><a href="#xv">233</a></td>
+</tr>
+<tr>
+<td class="tda">XVI.</td>
+<td class="tde"><span class="smcap">Dramatic Reporting</span></td>
+<td class="tdc"><a href="#xvi">259</a></td>
+</tr>
+<tr>
+<td class="tda">XVII.</td>
+<td class="tde"><span class="smcap">Style Book</span></td>
+<td class="tdc"><a href="#xvii">276</a></td>
+</tr>
+<tr>
+<td class="tde i3" colspan="2"><span class="smcap">Appendix &nbsp;I&mdash;Suggestions for Study</span></td>
+<td class="tdc"><a href="#ai">294</a></td>
+</tr>
+<tr>
+<td class="tde i3" colspan="2"><span class="smcap">Appendix II&mdash;News Stories to Be Corrected</span></td>
+<td class="tdc"><a href="#aii">311</a></td>
+</tr>
+<tr>
+<td class="tde i3" colspan="2"><span class="smcap">Index</span> </td>
+<td class="tdc"><a href="#index">339</a></td>
+</tr>
+
+</table>
+
+<hr />
+
+
+<h1 class="first"><span class="pagenum"><a name="Page_1" id="Page_1">[1]</a></span>
+NEWSPAPER REPORTING<br />
+AND CORRESPONDENCE</h1>
+
+<h2><a name="i" id="i"></a>I<br />
+<br />
+<small>GATHERING THE NEWS</small></h2>
+
+
+<p>Unlike almost any other profession, that of a
+newspaper reporter combines two very different activities&mdash;the
+gathering of news and the writing of
+news. Part of the work must be done in the office
+and part of it outside on the street. At his desk in
+the office a reporter is engaged in the literary, or
+pseudo-literary, occupation of writing news stories;
+outside on the street he is a detective gathering news
+and hunting for elusive facts to be combined later
+into stories. Although the two activities are closely
+related, each requires a different sort of ability and
+a different training. In a newspaper office the two
+activities are rarely separated, but a beginner must
+learn each duty independent of the other. This
+book will not attempt to deal with both; it will confine<span class="pagenum"><a name="Page_2" id="Page_2">[2]</a></span>
+itself mainly to one phase, the pseudo-literary
+activity of writing news stories.</p>
+
+<p>However, introductory to the discussion of the
+writing of newspaper stories, we may glance at the
+other side of the newspaper writer's work&mdash;the
+gathering of the news. Where the newspaper gets its
+news and how it gets its news can be learned only
+by experience, for it differs in different cities and
+with different papers. But an outline of the background
+of news-gathering may assist us in writing
+the news after it is gathered and ready for us to
+write.</p>
+
+<p><b>1. Reporter vs. Correspondent.</b>&mdash;There are two capacities
+in which one may write news stories for a
+paper. He may work on the staff as a regular reporter
+or he may supply news from a distance as a
+correspondent. In the one case he works under the
+personal supervision of a city editor and spends his
+entire time at the regular occupation of gathering
+and writing news. As a correspondent he works in
+a distant city, under the indirect supervision of the
+city, telegraph, or state editor, and sends in only the
+occasional stories that seem to be of interest to his
+paper. In either case the same rules apply to his
+news gathering and to his news writing. And in
+either case the length of his employment depends
+upon his ability to turn in clean copy in the form in<span class="pagenum"><a name="Page_3" id="Page_3">[3]</a></span>
+which his paper wishes to print the news. Both the
+reporter and the correspondent must write their
+stories in the same form and must look at news and
+the sources of news from almost the same point of
+view. Whatever is said of the reporter applies
+equally to the correspondent.</p>
+
+<p><b>2. Expected and Unexpected News.</b>&mdash;The daily
+news may be divided into two classes from the newspaper's
+point of view: expected and unexpected
+news. Expected news includes all stories of which
+the paper has a previous knowledge. Into this class
+fall all meetings, speeches, sermons, elections, athletic
+contests, social events, and daily happenings
+that do not come unexpectedly. They are the events
+that are announced beforehand and tipped off to the
+paper in time for the editor to send out a reporter
+to cover them personally. These events are of
+course recorded in the office, and each day the editor
+has a certain number of them, a certain amount of
+news that he is sure of. Each day he looks over his
+book to note the events that are to take place during
+that day and sends out his reporters to cover them.</p>
+
+<p>The other class includes the stories that break unexpectedly.
+Accidents, deaths, fires, storms, and
+other unexpected happenings come without warning
+and the reporting of them cannot be arranged for
+in advance. These are the stories that the paper is<span class="pagenum"><a name="Page_4" id="Page_4">[4]</a></span>
+most anxious to get and the things for which the
+whole staff always has its eyes and ears open. Seldom
+are they heard of in time for the paper to have
+them covered personally, and the reporting of such
+stories becomes a separate sort of work&mdash;the gathering
+and sorting of the facts that can be obtained
+only from chance witnesses.</p>
+
+<p><b>3. News Sources.</b>&mdash;There are certain sources from
+which the paper gets most of its tips of expected
+events and its knowledge of unexpected events.
+These every editor knows about. The courts, the
+public records, the public offices, the churches, and
+the schools furnish a great many of the tips of expected
+news. The police stations, the fire stations,
+the hospitals, and the morgues furnish most of the
+tips of unexpected news. Whenever an event is going
+to happen, or whenever an unexpected occurrence
+does happen, a notice of it is to be found in
+some one of these sources. Such a notice or a casual
+word from any one is called a "tip" and indicates
+the possibility of securing a story. The securing of
+the story is another matter. A would-be reporter
+may get good practice from studying the stories in
+the daily papers and trying to discover or imagine
+from what source the original news tip came. He
+will soon find that certain classes of stories always
+come from certain sources and that there is a perceptible<span class="pagenum"><a name="Page_5" id="Page_5">[5]</a></span>
+amount of routine evident in the accounts of
+the most unexpected occurrences.</p>
+
+<p><b>4. Runs and Assignments.</b>&mdash;Between the news tip
+and the finished copy for the compositor there is a
+vast amount of news gathering, which falls to the
+lot of the reporter. This is handled by a system of
+runs and special assignments. A reporter usually
+has his own run, or beat, on which he gathers news.
+His run may cover a certain number of police stations
+or the city hall or any group of regular news
+sources. Each day he must visit the various sources
+of news on his beat and gather the tips and whatever
+facts about the stories behind the tips that he can.
+The tips that he secures furnish him with clues to
+the stories, and it is his business to get the facts
+behind all of the tips on his beat and to write them
+up, unless a tip opens up a story that is too big for
+him to handle alone without neglecting his beat.</p>
+
+<p>Assignments are used to cover the stories that do
+not come in through the regular sources, and to handle
+the big stories that are unearthed on the regular
+beats. The editor turns over to the reporter the tip
+that he has received and instructs him to go out and
+get the facts. A paper's best reporters are used almost
+entirely on assignments, and when they go out
+after a story they practically become detectives.
+They follow every clue that the tip suggests and<span class="pagenum"><a name="Page_6" id="Page_6">[6]</a></span>
+every clue that is opened up as they progress; they
+hunt down the facts until they are reasonably sure
+that they have secured the whole story. The result
+may not be worth writing, or it may be worth a
+place on the front page, but the reporter must get
+to the bottom of it. Whether on a beat or on an
+assignment every reporter must have his ears open
+for a tip of some unexpected story and must secure
+the facts or inform the editor at once. It is in this
+way that a paper gets a scoop, or beat, on its rivals
+by printing a story before the other papers have
+heard of it.</p>
+
+<p><b>5. Interviews for Facts.</b>&mdash;To cover an assignment
+and secure the facts of a story is not at all easy. If
+the reporter could be a personal witness of the happening
+which he is to report, the task would be simpler.
+But, outside the case of expected events, he
+rarely hears of the occurrence until after it is past
+and the excitement has subsided. Then he must
+find the persons who witnessed the occurrence or
+who know the facts, and get the story from them.
+Perhaps he has to see a dozen people to get the information
+he wants. Getting facts from people in
+this way is called interviewing&mdash;interviewing for
+facts, as distinguished from formal interviewing for
+the purpose of securing a statement or an opinion
+that is to be printed with the name of the man who<span class="pagenum"><a name="Page_7" id="Page_7">[7]</a></span>
+utters it. Although a dozen interviews may be
+necessary for a single story, not one of them is mentioned
+in the story, for they are of no importance
+except in the facts that they supply.</p>
+
+<p>For example, suppose a reporter is sent out to get
+the story of a fire that has started an hour or two
+before he goes on duty. All that his editor gives
+him is the tip from the fire department, or from
+some other source, of a fire at such-and-such an address.
+When he arrives at the scene there is nothing
+left but smoldering ruins with perhaps an engine
+throwing a stream on the smoking d&eacute;bris and a few
+by-standers still loitering about. He can see with
+his own eyes what kind of building has burned, and
+how completely it has been destroyed. A by-stander
+may be able to tell him who occupied the building or
+what it was used for, but he must hunt for some one
+else who can give him the exact facts that his paper
+wants. Perhaps he can find the tenant and learn
+from him what his loss has been. The tenant can
+give him the name of the owner and may be able to
+tell him something about the origin of the fire. He
+must find the owner to get the value of the building
+and the amount of insurance carried. Perhaps he
+cannot find any of these people and must ask the
+fire chief or some one else to give him what facts
+and estimates he can. If the fire is at all serious he<span class="pagenum"><a name="Page_8" id="Page_8">[8]</a></span>
+must find out who was killed or injured and get
+their names and addresses and the nature of their
+injury or the manner of their death. Perhaps he
+can talk to some of the people who had narrow escapes,
+or interview the friends or relatives of the
+dead. Everywhere he turns new clues open up, and
+he must follow each one of them in turn until he is
+sure that he has all the facts.</p>
+
+<p><b>6. Point of View.</b>&mdash;The task would be easy if
+every one could tell the reporter just the facts that
+his paper wants. But in the confusion every one
+is excited and fairly bubbling over with rumors and
+guesses which may later turn out to be false. Each
+person who is interested in the incident sees and tells
+it only from his own point of view. Obviously the
+reporter's paper does not want the facts from many
+different points of view, nor even from the point of
+view of the fire department, of the owner, or of the
+woman who was rescued from the third floor. The
+paper wants the story from a single point of view&mdash;the
+point of view of an uninterested spectator. Consequently
+the reporter must get the facts through
+interviews with a dozen different people, discount
+possible exaggeration and falsity due to excitement,
+make allowances for the different points of view,
+harmonize conflicting statements, and sift from the
+mass what seems to him to be the truth. Then he<span class="pagenum"><a name="Page_9" id="Page_9">[9]</a></span>
+must write the story from the uninterested point of
+view of the public, which wants to hear the exact
+facts of the fire told in an unprejudiced way. Never
+does the story mention any of the interviews behind
+it except when the reporter is afraid of some statement
+and wants to put the responsibility upon the
+person who gave it to him. And so the finished
+story that we read in the next morning's paper is
+the composite story of the fire chief, the owner, the
+tenant, the man who discovered the fire, the widow
+who was driven from her little flat, the little girl
+who was carried down a ladder through the smoke,
+the man who lost everything he had in the world,
+and the cynic who watched the flames from behind
+the fireline&mdash;all massed together and sifted and retold
+in an impersonal way from the point of view of
+a by-stander who has been everywhere through the
+flames and has kept his brain free from the terror
+and excitement of it all.</p>
+
+<p>The same is true of every story that is printed in
+a newspaper. Every story must be secured in the
+same way&mdash;whether it is the account of a business
+transaction, a bank robbery, a political scandal, a
+murder, a reception, or a railroad wreck. Seldom
+is it possible to find any one person who knows all
+the facts just as the newspaper wants them, and
+many a story that is worth but a stickful in the first<span class="pagenum"><a name="Page_10" id="Page_10">[10]</a></span>
+edition is the result of two hours' running about
+town, half a dozen telephone calls, and a dozen interviews.
+That is the way the news is gathered,
+and that is the part of the reporter's work that he
+must learn by experience. But after all the gathering
+is finished and he has the facts, the writing of
+the story remains. If the reporter knows how to
+write the facts when he has them, his troubles are
+cut in half, for nowadays a reporter who writes well
+is considered a more valuable asset than one who
+cannot write and simply has a nose for news.</p>
+
+<p><b>7. News-Gathering Agencies.</b>&mdash;This account of
+news gathering is of course told from the point of
+view of the reporter. Naturally it assumes a different
+aspect in the editor's eyes. Much of the day's
+news does not have to be gathered at all. A steady
+stream of news flows in ready for use from the
+great news-gathering agencies, the Associated Press,
+the United Press, the City Press, etc., and from correspondents.
+Many stories are merely summaries
+of speeches, bulletins, announcements, pamphlets
+and other printed matter that comes to the editorial
+office, and many stories come already written. Almost
+everybody is looking for publicity in these days
+and the editor does not always have to hunt the
+news with an army of ferrets. Co&ouml;peration in news
+gathering has simplified the whole matter. But it<span class="pagenum"><a name="Page_11" id="Page_11">[11]</a></span>
+all has to be written and edited. That is why great
+reporters are no longer praised for their cleverness
+in worming their way to elusive facts, but for their
+ability to write a good story. That is why we no
+longer hear so much about beats and scoops but
+more about clean copy and "literary masterpieces."</p>
+
+<p><b>8. How the Correspondent Works.</b>&mdash;The correspondent
+gathers news very much as the reporter
+does, but he does it without the help of a city editor.
+He must be his own director and keep his own book
+of tips, for he has no one to make out his assignments
+beforehand. He has to watch for what news
+he can get by himself and send it to his paper of
+his own accord, except occasionally when his paper
+instructs him to cover a particularly large story.
+But he gets his tips and runs down his facts just as
+a reporter does. Just as much alertness and just as
+much ability to write are required of him.</p>
+
+<p>The correspondent's work is made more difficult
+by what is called news values. Distance affects the
+importance of the facts that he secures and the
+length of the stories he writes. He must weigh
+every event for its interest to readers a hundred or
+a thousand miles away. What may be of immense
+importance in his community may have no interest
+at all for readers outside that community. He must
+see everything with the eyes of a stranger, and this<span class="pagenum"><a name="Page_12" id="Page_12">[12]</a></span>
+must influence his whole work of news gathering
+and news writing. This matter will be taken up at
+greater length in the next chapter.</p>
+
+<p><b>9. Correspondent's Relation to His Paper.</b>&mdash;The relations
+of a correspondent to the paper or news association
+to which he is sending news can best be
+learned by experience. Every paper has different
+rules for its correspondents and different directions
+in regard to the sort of news it wants. The rules
+regarding the mailing of copy and the sending of
+stories or queries by telegraph are usually sent out
+in printed form by each individual paper to its correspondents.
+But while gathering news and writing
+stories for a distant paper, a correspondent must always
+regard himself as a reporter and write his
+stories in the form in which they are to appear in
+print if he wishes to remain correspondent for any
+length of time. The following rules are taken from
+the "<span class="smcap">instructions to correspondents</span>" sent out
+on a printed card to the correspondents of the St.
+Louis <em>Star</em>:</p>
+
+<div class="blockquot">
+<p>QUERY BY WIRE ON ALL STORIES you consider are
+worth telegraphing, unless you are absolutely certain <em>The
+Star</em> wants you to send the story without query, or in case
+of a big story breaking suddenly near edition time. If you
+have not time to query, get a reply and send such matter as
+might be ordered before the next edition time; send the story
+in the shortest possible number of words necessary to tell it,
+asking if additional matter is desired.<span class="pagenum"><a name="Page_13" id="Page_13">[13]</a></span></p>
+
+<p>Write your queries so they can be understood. Never send
+a "blind" query. If John Smith, a confirmed bachelor, whose
+age is 80 years, elopes with and marries the daughter of the
+woman who jilted him when he was a youth, say so in as few
+words as possible, but be sure to convey the dramatic news
+worth of the story in your query. Do not say, "Bachelor
+elopes with girl, daughter of woman he knew a long time
+ago." In itself the story which this query tells might be worth
+printing, but it would not be half so good a story as the
+elopement of John Smith, 80, bachelor, woman hater, with the
+daughter of his old sweetheart.</p>
+
+<p>When a good story breaks close to edition time and the
+circumstances justify it, use the long-distance telephone, but
+first be reasonably certain <em>The Star</em> will not get the story from
+another source.</p>
+
+<p>Write your stories briefly. <em>The Star</em> desires to remunerate
+its correspondents according to the worth of a story and not
+for so many words. One good story of 200 words with the
+right "punch" in the introduction is worth a dozen strung
+over as many dozen pages of copy paper with the real story
+in the last paragraph of each. Tell your story in simple,
+every-day conversational words: quit when you have finished.
+Relegate the details. Unless it is a case of identification in a
+murder mystery, or some similar big story, no one cares about
+the color of the man's hair. Get the principal facts in the
+first paragraph&mdash;stop soon after.</p>
+
+<p>Send as much of your stuff as possible by mail, especially
+if you have the story in the late afternoon and are near
+enough to St. Louis to reach <em>The Star</em> by 9 o'clock the next
+morning. If necessary, send the letter special delivery.</p>
+
+<p>Don't stop working on a good story when you have all the
+facts; if there are photographs to be obtained, get the photographs,
+especially if the principals in the story are persons of
+standing, and more especially if they are women.</p>
+
+<p>Correspondents will appreciably increase their worth to
+<em>The Star</em> and enhance their earning capacity by observing
+these rules.</p>
+</div>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_14" id="Page_14">[14]</a></span>
+<a name="ii" id="ii"></a>II<br />
+<br />
+<small>NEWS VALUES</small></h2>
+
+
+<p>Before any one can hope to write for a newspaper
+he must know something about news values&mdash;something
+about the essence of interest that makes one
+story worth a column and cuts down another, of
+equal importance from other points of view, to a
+stickful. He must recognize the relative value of
+facts so that he can distinguish the significant part
+of his story and feature it accordingly. The question
+is a delicate one and yet a very reasonable and
+logical one. The ideal of a newspaper, according
+to present-day ethics, is to print news. The daily
+press is no longer a golden treasury of contemporary
+literature, not even, perhaps, an exponent of political
+principles. Its primary purpose is to report contemporary
+history&mdash;to keep us informed concerning
+the events that are taking place each day in the
+world about us.</p>
+
+<p>To this idea is added another. A newspaper must
+be interesting. In these days of many newspapers
+few readers are satisfied with merely being informed;<span class="pagenum"><a name="Page_15" id="Page_15">[15]</a></span>
+they want to be informed in a way that
+interests them. To this demand every one connected
+with a newspaper office tries to cater. It is the defense
+of the sensational yellow journals and it is
+the reason for everything in the daily press. There
+is so much to read that people will not read things
+that do not interest them, and the paper that succeeds
+is the paper that interests the greatest number
+of readers. Circulation cannot be built up by printing
+uninteresting stuff that the majority of readers
+are not interested in, and circulation is necessary to
+success.</p>
+
+<p>This desire to interest readers is behind the whole
+question of news values. News is primarily the account
+of the latest events, but, more than that, it is
+the account of the latest events that interest readers
+who are not connected with these events. Further
+than that, it is the account of the latest events that
+interest the greatest number of readers. Susie
+Brown may have sprained her ankle. The fact is
+absorbingly interesting to Susie; it is even rather
+interesting to her family and friends, even to her
+enemies. If she is well known in the little town in
+which she lives her accident may be interesting
+enough to the townspeople for the local weekly to
+print a complete account of it. However, the event
+is interesting only to people who know Susie, and<span class="pagenum"><a name="Page_16" id="Page_16">[16]</a></span>
+after all they do not comprise a very large number.
+Hence her accident has no news value outside the
+local weekly. On the other hand, had Susie sprained
+her ankle in some very peculiar manner, the accident
+might be of interest to people who do not know
+Susie. Suppose that she had tripped on her gown
+as she was ascending the steps of the altar to be
+married. Such an accident would be very unusual,
+almost unheard of. People in general are interested
+in unusual things, and many, many readers would be
+interested in reading about Susie's unusual accident
+although they did not know Susie or even the town
+in which she lives. Such a story would be the report
+of a late event that would interest many people;
+hence it would have a certain amount of news value.
+Of course, the reader loses sight of Susie in reading
+of her accident&mdash;it might as well have been Mary
+Jones&mdash;but that is because Susie has no news value
+in herself. That is another matter.</p>
+
+<p><b>1. Classes of Readers.</b>&mdash;Realizing that his story
+must be of interest to the greatest number of people,
+the reporter must remember the sort of people for
+whom he is writing. That complicates the whole
+matter. If he were writing for a single class of
+readers he could easily give them the news that
+would interest them. But he is not; he is writing
+for many classes of people, for all classes of people.<span class="pagenum"><a name="Page_17" id="Page_17">[17]</a></span>
+And he must interest them all. He is writing for
+the business man in his office, for the wife in the
+home, for the ignorant, for the highly educated, for
+the rich and the poor, for the old and the young, for
+doctors, lawyers, bankers, laborers, ministers, and
+women. All of them buy his paper to hear the latest
+news told in a way that interests them, and he has
+to cater to each and to all of them. If he were
+simply writing for business men he would give them
+many columns of financial news, but that would not
+interest tired laborers. An extended account of the
+doings of a Presbyterian convention would not attract
+the great class of men with sporting inclinations,
+and a story of a very pretty exhibition of
+scientific boxing would not appeal to the wife at
+home. They all buy the paper, and they all want to
+be interested, and the paper must, therefore, print
+stories that interest at least the majority of them.
+That is the question of news values. The news
+must be the account of the latest events that interest
+the greatest number of readers of all classes.</p>
+
+<p>This search for the universally-interesting news
+is the reason behind the sensational papers. Although
+the interests of any individual differ in almost
+every aspect from the interests of his neighbor,
+there is one sort of news that interests them both,
+that interests every human being. That is the news<span class="pagenum"><a name="Page_18" id="Page_18">[18]</a></span>
+that appeals to the emotions, to the heart. It is the
+news that deals with human life&mdash;human nature&mdash;human
+interest news the papers call it. In it every
+human being is interested. However trivial may be
+the event, if it can be described in a way that will
+make the reader feel the point of view of the human
+beings who suffered or struggled or died or who
+were made happy in the event, every other human
+being will read it with interest. Human sympathy
+makes one want to feel joy and pain from the standpoint
+of others. Naturally that sort of news is always
+read; naturally the paper that devotes itself
+to such news is always read and is always successful
+as far as circulation and profits go. The papers that
+have that ideal of news behind them and forsake
+every other ideal for it are called sensational papers.
+Whether they are good or not is another question.</p>
+
+<p>With this idea of what news values means and
+the idea that news is worth while only when it interests
+the largest number of people of all classes,
+we may try to look for the things that make news
+interesting to the greatest number of people of all
+classes. The reporter must know not only what
+news is, but what makes it news. He must be able
+to see the things in a story that will interest the
+greatest number of people of all classes. These are
+many and intricate.</p>
+
+<p><span class="pagenum"><a name="Page_19" id="Page_19">[19]</a></span>
+<b>2. Timeliness.</b>&mdash;In the first place, news must be
+new. A story must have timeliness. Our readers
+want to know what happened to-day, for yesterday
+and last week are past and gone. They want to be
+up to the minute in their information on current
+events. Therefore a story that is worth printing to-day
+will not be worth printing to-morrow or, at
+most, on the day after to-morrow. Events must be
+chronicled just as soon as they happen. Furthermore,
+the story itself must show that it is new. It
+must tell the reader at once that the event which it
+is chronicling happened to-day or last night&mdash;at
+least since the last edition of the paper. That is
+why the reporter must never fail to put the time in
+the introduction of his story. Editors grow gray-headed
+trying to keep up with the swift passing of
+events, and they are always very careful to tell their
+readers that the events which they are chronicling
+are the latest events. That is the reason why every
+editor hates the word "yesterday" and tries to get
+"to-day" or "this morning" into the lead of every
+story. Hence, to the newspaper, everything that
+happened since midnight last night is labeled "this
+morning," and everything that happened since six
+o'clock yesterday afternoon is labeled "last night."
+Anything before that hour must be labeled "yesterday,"
+but it goes in as "late yesterday afternoon,"<span class="pagenum"><a name="Page_20" id="Page_20">[20]</a></span>
+if it possibly can. Hence the first principle of news
+values is timeliness&mdash;news is news only because it
+just happened and can be spoken of as one of the
+events of "to-day" or of "late yesterday."</p>
+
+<p><b>3. Distance.</b>&mdash;Distance is another factor in news
+values. In spite of fast trains and electric telegraphs
+human beings are clannish and local in their interests.
+They are interested mainly in things and persons
+that they know, and news from outside their
+ken must be of unusual significance to attract them.
+They like to read about things that they have seen
+and persons that they know, because they are slow
+to exert their imaginations enough to appreciate
+things that they do not know personally. Hence
+every newspaper is primarily local, even though it is
+a metropolitan daily, and news from a distance plays
+a very subordinate part. It has been said that New
+York papers cannot see beyond the Alleghanies; it is
+equally true that most papers cannot see more
+than a hundred miles from the printing office,
+except in the case of national news. Any
+newspaper's range of news sources goes out
+from the editorial room in concentric circles.
+Purely personal news must come from within
+the range of the paper's general circulation,
+because people do not care to read purely personal
+news about persons whom they do not know. Other<span class="pagenum"><a name="Page_21" id="Page_21">[21]</a></span>
+news is limited ordinarily to the region with which
+the paper's readers are personally acquainted&mdash;the
+state, perhaps&mdash;because subscribers unconsciously
+wish to hear about places with which they are personally
+acquainted. Any news that comes from
+outside this larger circle must be nation-wide or very
+unusual in its interest. A story that may be worth
+a column in El Paso, Texas, would not be worth
+printing in New York because El Paso is hardly
+more than a name to most New York newspaper
+readers. In the same way, the biggest stories in
+New York are not worth anything in Texas, because
+Texas readers are not personally interested in New
+York&mdash;they cannot say, "Yes, I know that building;
+I walked down that street the other day; oh, you
+can't tell me anything about the subway." News is
+primarily local, and the first thing a correspondent
+must learn is how to distinguish the stories that are
+purely local in their interest from those that would
+be worth printing a hundred miles away in a paper
+read by people who do not know the places or persons
+involved in the story. Colonel Smith may be
+a very big frog in the little puddle of Smith's Corners,
+and his doings may be big news to the weeklies
+all over his county, but he has to do something
+very unusual before his name is worth a line in a
+paper two counties away. He is nothing but a<span class="pagenum"><a name="Page_22" id="Page_22">[22]</a></span>
+name to people who do not know him or know of
+him, and therefore they are not interested in him.
+Every correspondent must watch for the stories
+that have something more than a local interest, some
+element of news in them that will carry them over
+the obstacle of distance and make them interesting
+to any reader.</p>
+
+<p>It would be impossible to analyze news values to
+the extent of telling every conceivable element of
+interest that will overcome the obstacle of distance.
+Yet there are certain elements that always make a
+newspaper story interesting to any one.</p>
+
+<p><b>4. Loss of life.</b>&mdash;One of these is the loss of human
+life. For some strange reason every human
+being is interested in the thought of death. Just
+as soon as a story mentions death it is worth printing,
+and if it has a number of deaths to tell about
+it is worth printing anywhere. Any fire, any railroad
+wreck, or any other disaster in which a number
+of persons are killed or injured makes a story that
+is worth sending anywhere. There seems to be a
+joy for the reader in the mere number of fatalities.
+A story that can begin with "Ten people were
+killed," or "Seven men met their death," attracts a
+reader's interest at once. As a very natural result,
+and justly, too, newspapers have been broadly accused
+of exaggeration for the sake of a large number.<span class="pagenum"><a name="Page_23" id="Page_23">[23]</a></span>
+But at present many papers are inclined to
+underestimate rather than overestimate, perhaps to
+avoid this accusation. In a number of instances in
+the past year, among them the Shirtwaist Factory
+fire in New York, the first figures were smaller than
+the official count printed later. That does not mean,
+however, that newspapers do not want stories involving
+loss of life. Any story which involves a
+large number of fatalities will carry a long distance,
+if for no other reason.</p>
+
+<p><b>5. Big Names.</b>&mdash;Another element of news values is
+the interest in prominent people. The mere mention
+of a man or a woman who is known widely attracts
+attention. Although Colonel Smith of Smith's Corners
+has to do something very unusual to get his
+name in any paper outside his county, the slightest
+thing that President Taft does is printed in every
+paper in the country. It is simply because of our
+interest in the man himself. Some names give a
+story news value because the names are widely
+known politically or financially, some names because
+they are simply notorious. But any name that is
+recognized at once, for any reason, gives a story
+news value.</p>
+
+<p><b>6. Property Loss.</b>&mdash;Akin to man's love for any account
+that involves large loss of human life, is his
+love of any story that tells about a huge loss of<span class="pagenum"><a name="Page_24" id="Page_24">[24]</a></span>
+property. The mere figures seem to have a charm;
+any story that can begin with awesome figures, like
+"Two million dollars," "One hundred automobiles,"
+"Ten city blocks," has news value. Hence any story
+that involves a large loss that can be expressed in
+figures has the power to carry a great distance.</p>
+
+<p><b>7. Unusualness.</b>&mdash;It is safe to say that newspaper
+readers are interested in anything unusual. It does
+not matter whether it is a thing, a person, an action,
+a misfortune; so long as it is strange and out of the
+range of ordinary lives, it is interesting. Many, if
+not most, newspaper stories have nothing but the
+element of strangeness in them to give them news
+value, but if they are sufficiently strange and unusual
+they may be copied all over the country. An
+unusual origin or an unusual rescue will give an unimportant
+fire great news value. And so with every
+other kind of story.</p>
+
+<p><b>8. Human Interest.</b>&mdash;Along with the element of the
+strange and unusual, goes the human interest element.
+Any story that will make us laugh or make
+us cry has news value. Hundreds of magazines are
+issued monthly with nothing in them but fictitious
+stories that are intended to arouse our emotions, and
+newspapers are beginning to realize that they can
+interest their readers in the same way. No life is so
+prosaic that it is not full of incidents that make one<span class="pagenum"><a name="Page_25" id="Page_25">[25]</a></span>
+laugh or cry, and when these stories can be told in
+a way that will make any reader feel the same emotions,
+they have news value that will carry them a
+long distance. Obviously their success depends very
+largely upon the way they are told.</p>
+
+<p><b>9. Personal Appeal.</b>&mdash;Another element that may
+give a story news value is that of personal appeal or
+application to the reader's own daily life. Men are
+primarily egoistic and selfish and nothing interests
+them more than things that affect them personally.
+They can read complacently and without interest of
+the misfortunes and joys of others, but just as soon
+as anything affects their own daily lives, even a
+little, they want to hear about it. Perhaps the price
+of butter has gone up a few cents or the gas company
+has reduced its rates from eighty cents to
+seventy-seven. Every reader is interested at once,
+for the news affects his own daily life. Sometimes
+this personal appeal is due merely to the reader's
+familiarity with the persons or places mentioned in
+the story; sometimes it is due to the story's application
+to his business life, his social or religious activities,
+or to any phase of his daily existence. That
+is the reason why political news interests every one,
+for we all feel that the management of the government
+has an influence on our own lives. The story
+of any political maneuver&mdash;especially if it is one<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span>
+that may be looked upon as bad or good&mdash;carries
+farther than any other story. Show that your story
+tells of something that has even the slightest effect
+on the lives of a large number of people and it needs
+no other element to give it news value.</p>
+
+<p><b>10. Local Reasons.</b>&mdash;These factors and many others
+give news stories a news value that will carry them
+a long distance and make them interesting in communities
+far from their source. Many local reasons
+may enhance the value of a story for local papers.
+A paper's policy or some campaign that it is waging
+may give an otherwise unimportant event a tremendous
+significance. If an unimportant person is
+slightly injured while leaving a trolley car the story
+is hardly worth a line of type. But if such an item
+should come to a newspaper while it is carrying on
+a campaign against the local street railway company,
+the story would probably be written and printed in
+great detail. Any slight occurrence that may be in
+line with a paper's political beliefs would receive an
+amount of space far out of proportion with its ordinary
+news worth. News value is a very changeable
+and indefinite thing, and there are countless
+reasons why any given story should be of interest to
+a large number of readers. And the possibility of
+interesting a large number of readers is the basis of
+news value.</p>
+
+<p><span class="pagenum"><a name="Page_27" id="Page_27">[27]</a></span>
+<b>11. The Feature.</b>&mdash;In connection with the study of
+news values the question of feature is important. In
+editorial offices one is constantly hearing the word
+"feature," and reporters are constantly admonished
+to "play up the feature" of their stories. Feature is
+the word that editors use to signify the essence of
+news value. Every story that is printed is printed
+because of some fact in it that makes it interesting&mdash;gives
+it news value. The element in the story that
+makes it interesting and worth printing is the feature.
+The feature may be some prominent name, a
+large list of fatalities, a significant amount of property
+destroyed, or merely the unusualness of the incident.
+This feature is the element that makes the
+story news; therefore it is used to attract attention
+to the story. Every newspaper story displays like a
+placard in its headlines the reason why it was
+printed&mdash;the element in it that makes it interesting.
+"Playing up the feature" is simply the act of bringing
+this feature to the front so that it will attract attention
+to the story. Just how this is done we shall
+see later. But when, as a reporter, you are looking
+for a feature to play up in your lead, remember that
+the feature to be played up is the thing in the story
+that gives the story news value. And few stories
+have more than one claim to news value, more than
+one feature.</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_28" id="Page_28">[28]</a></span>
+<a name="iii" id="iii"></a>III<br />
+<br />
+<small>NEWSPAPER TERMS</small></h2>
+
+
+<p>The newspaper vernacular that is used in the editorial
+and press rooms of any daily paper is a curious
+mixture of literary abbreviations and technical printing
+terms. It is the result of the strange mingling
+of the literary trade of writing with the mechanical
+trade of setting type. For that reason a green reporter
+has difficulty in understanding the instructions
+that he receives until he has been in the office
+long enough to learn the office slang. It would be
+impossible to list all of the expressions that might
+be heard in one day, but a knowledge of the commonest
+words will enable a reporter to get the drift
+of his editor's instructions.</p>
+
+<p>When a young man secures a position as reporter
+for a newspaper he begins as a <em>cub reporter</em> and is
+usually said to be on the <em>staff</em> of his paper. His
+sphere of activity is confined to the <em>editorial</em> room,
+where the news is written; his relations with the
+<em>business office</em>, where advertising, circulation, and<span class="pagenum"><a name="Page_29" id="Page_29">[29]</a></span>
+other business matters are handled, consists of the
+weekly duty of drawing his pay. His chief enemies
+are in the <em>printing office</em> where his literary efforts are
+<em>set up</em> in type and printed. His superiors are called
+<em>editors</em> and exist in varying numbers, depending
+upon the size of his paper. The man who directs the
+reporters is usually called the <em>city editor</em>, or perhaps
+the <em>day</em> or <em>night city editor</em>; above him there are
+managing editors and other persons in authority
+with whom the cub is not concerned; and the favored
+mortals who enjoy a room by themselves and write
+nothing but editorials are called editors or <em>editorial
+writers</em>. There may also be a <em>telegraph</em> editor, a
+<em>sporting</em> editor, a <em>Sunday</em> editor, and many other
+editors; or if the paper is small and poor all of these
+editors may be condensed into one very busy man.
+On a city daily of average size there are <em>desk men</em>,
+or <em>copyreaders</em>, who work under editorial direction
+but feel superior to the reporter because they correct
+his literary efforts.</p>
+
+<p>The reporter's work consists of gathering and
+writing news. In the office this is called <em>covering</em>
+and writing <em>stories</em>. He is ordinarily put on a <em>beat</em>,
+or <em>run</em>; this is simply a daily route or round of news
+sources which he follows as regularly as a policeman
+walks his beat. The reporter's work on a special
+story outside his beat is called an <em>assignment</em>. Any<span class="pagenum"><a name="Page_30" id="Page_30">[30]</a></span>
+hint that he may receive concerning a bit of news
+is called a <em>tip</em>. Any bit of news that he secures to
+the exclusion of his paper's rivals is called a <em>beat</em>,
+or a <em>scoop</em>.</p>
+
+<p>Everything that is written for the paper, whether
+it be a two-line personal item or a two-column report,
+is called a <em>story</em>, or a <em>yarn</em>, and from the time
+the story is written until it appears in the printed
+paper it is called <em>copy</em>. If the story is well written
+and needs few corrections it is called <em>clean copy</em>.
+After the story is written it is turned over to the
+copyreader to be <em>edited</em>. The copyreader corrects it
+and writes the headlines or <em>heads</em>; then he sends it to
+the composing room to be set in type by the <em>compositor</em>.
+The story itself is usually set up on a linotype
+machine and the heads are set up by hand. For
+the sake of keeping the two parts of the copy together
+the reporter or the copyreader ordinarily
+gives the story a name, such as "Fire No. 2"; the bit
+of lead on which the name is printed is called a <em>slug</em>
+and the story is said to be <em>slugged</em>. If at any time in
+its journey from the reporter's pencil to the printed
+page, the editor decides not to print the story, he
+<em>kills</em> it; otherwise he <em>runs</em> it, or allows it to go into
+the paper. When the story is in type, an impression,
+or <em>proof</em>, is taken of it, and this proof, still called
+copy, comes back to the copyreader or the proofreader<span class="pagenum"><a name="Page_31" id="Page_31">[31]</a></span>
+for the correction of typographical errors.
+The gathering together of all of the day's stories
+into the form of the final printed page is called <em>making
+up</em> the paper; this is usually done by some one
+of the editors. In like manner, the finished aspect
+of the paper is called the <em>make-up</em>.</p>
+
+<p>Some stories are said to be <em>big stories</em> because of
+unusual news value. When any news comes unexpectedly
+it is said to <em>break</em>; and when any story
+comes in beforehand and must be held over, it is
+said to be <em>released</em> on the day on which it may be
+printed. The first paragraph of any story is called
+the <em>lead</em> (pronounced "leed"); the word <em>lead</em> is also
+used to designate several introductory paragraphs
+that are tacked on at the beginning of a long story,
+which may be of the nature of a <em>running story</em> (as
+the running story of a football game), or may be
+made up of several parts, written by one or more
+reporters. In general, that part of a story which
+presents the gist or summary of the entire story at
+the beginning is called the <em>lead</em>. The most interesting
+thing in the story, the part that gives it news
+value, is called the <em>feature</em>, and <em>playing up the feature</em>
+consists in telling the most interesting thing in
+the first line of the lead or in the headline. An entire
+story is said to be <em>played up</em> if it is given a
+prominent place in the paper. A <em>feature story</em> is<span class="pagenum"><a name="Page_32" id="Page_32">[32]</a></span>
+either a story that is thus played up or a story that
+is written for some other reason than news value,
+such as human interest. When a story is rewritten
+to give a new interest to old facts it is called a <em>rewrite
+story</em>; when it is rewritten to include new
+facts or developments, it is called a <em>follow-up</em>, <em>second-day</em>,
+or <em>follow story</em>.</p>
+
+<p>Because of the close relation between the editorial
+room and the printing office many printing terms are
+commonly heard about the editorial room. All copy
+is measured by the <em>column</em> and by the <em>stickful</em>. A
+column is usually a little less than 1,500 words and a
+stickful is the amount of type that can be set in a
+compositor's <em>stick</em>, the metal frame used in setting
+type by hand&mdash;about two inches or 100 words. A
+bit of copy that is set up with a border or a row of
+stars about it is said to be <em>boxed</em>. Whenever copy
+is set with extra space between the lines it is said
+to be <em>leaded</em> (pronounced "leded")&mdash;the name is
+taken from the piece of lead that is placed between
+the lines of type. The reporter must gradually learn
+the names of the various kinds of type and the various
+proofreader's signs that are used to indicate the
+way in which the type is to be set, for the whole
+work of writing the news is governed and limited by
+the mechanical possibilities of the printing office.
+The commonest signs used by the proofreader or the<span class="pagenum"><a name="Page_33" id="Page_33">[33]</a></span>
+copyreader, together with instructions for preparing
+copy, are given in the Style Book at the end of this
+volume. (A complete list of proofreader's signs
+can be found in the back of any large dictionary.)
+<em>Style</em> is a word which editors use to cover a multitude
+of rules, arbitrary or otherwise, concerning
+capitalization, punctuation, abbreviation, etc. A paper
+that uses many capital letters is said to follow an
+<em>up</em> style, and a paper that uses small letters instead
+of capitals whenever there is a choice is said to follow
+a <em>down</em> style. Every newspaper has its own
+style and usually prints its rules in a Style Book;
+the Style Book given in this volume has been compiled
+from many representative newspaper style
+books. It sets forth an average style and the beginner
+is advised to follow it closely in his practice
+writing&mdash;for, as editors say, "uniformity is better
+than a strict following of style."</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_34" id="Page_34">[34]</a></span>
+<a name="iv" id="iv"></a>IV<br />
+<br />
+<small>THE NEWS STORY FORM</small></h2>
+
+
+<p>When we come to the writing of the news we find
+that there are many sorts of stories that must be
+written. In the newspaper office they are called
+simply stories without distinction. For the purpose
+of study they may be classified to some extent, but
+this classification must not be taken as hard and fast.
+The commonest kind of story is the simple news
+story. Practically all newspaper reports are news
+stories, but as distinguished from other kinds of
+reports the simple news story is the report of some
+late event or occurrence. It is usually concerned
+with unexpected news, and is the commonest kind of
+story in any newspaper. It is to be distinguished
+from reports of speeches, interview stories, court
+reports, social news, dramatic news, sporting news,
+human-interest stories, and all the rest. The distinction
+is largely one of form and does not exist
+to any great extent in a newspaper office where all
+stories are simply "stories."</p>
+
+<p><span class="pagenum"><a name="Page_35" id="Page_35">[35]</a></span>
+The simple news story is probably the most variable
+part of a newspaper. Given the same facts, each
+individual reporter will write the story in his individual
+way and each editor will change it to suit
+his individual taste. No two newspapers have exactly
+the same ideal form of news story and no
+newspaper is able to live up to its individual ideal in
+each story.</p>
+
+<p>But there are general tendencies. Certain things
+are true of all news stories; whether the story be
+the baldest recital of facts or the most sensational
+featuring of an imaginary thrill in a commonplace
+happening, certain characteristics are always present.
+And these characteristics can always be traced to
+one cause&mdash;the effort to catch and hold the reader's
+interest. When a busy American glances over his
+newspaper while he sips his breakfast coffee or while
+he clings to a strap on the way to his office, he reads
+only the stories that catch his interest&mdash;and he reads
+down the column in any one story only so long as his
+interest is maintained. Hence the ideal news story
+is one which will catch the reader's attention by its
+beginning and hold his interest to the very end.
+This is the principle of all newspaper writing.</p>
+
+<p>The interest depends, in a large measure, on the
+way the facts are presented. True, certain facts are
+in themselves more interesting to a casual reader<span class="pagenum"><a name="Page_36" id="Page_36">[36]</a></span>
+than others, but just as truly other less interesting
+facts may be made as interesting through the reporter's
+skill. The most interesting of stories may lose
+its interest if poorly presented, and facts of the most
+commonplace nature may be made attractive enough
+to hold the reader to the last word. The aim of
+every reporter and of every editor is to make every
+story so attractive and interesting that the most
+casual reader cannot resist reading it.</p>
+
+<p>In the old days news stories were written in the
+logical order of events just like any other narrative,
+but constant change has brought about a new form,
+as different and individual as any other form of expression.
+Unlike any other imaginable piece of
+writing, the news story discloses its most interesting
+facts first. It does not lead the reader up to a
+startling bit of news by a tantalizing suspense in an
+effort to build up a surprise for him; it tells its most
+thrilling content first and trusts to his interest to
+lead him on through the details that should logically
+precede the real news. Therefore every editor admonishes
+his reporters "to give the gist of the news
+first and the details later."</p>
+
+<p>There are other reasons for this peculiar reversal
+of the logical order of narrative. Few readers have
+time to read the whole of every story, and yet they
+want to get the news&mdash;in the shortest possible time.<span class="pagenum"><a name="Page_37" id="Page_37">[37]</a></span>
+Therefore the newspaper very kindly tells the important
+part of each story at the beginning. Then
+if the reader cares to hear the details he can read the
+rest of the story; but he gets the news, anyway.
+Again, if the exigencies of making up the stories
+into a paper of mechanically limited space require
+that a story be cut down, the editor may slash off a
+paragraph or two at the end without depriving the
+story of its interest. Imagine the difficulty of cutting
+down a story that is told in its logical order!
+If the real news of the story were in the last paragraph
+it would go in the slashing, and what would
+be left? Whereas, if the gist of the story comes
+first the editor may run any number of paragraphs
+or even the first paragraph alone and still have a
+complete story.</p>
+
+<p>The arrangement of news stories in American
+newspapers is thus a very natural one, resulting
+from the exigencies of the business. Just how to fit
+every story to this arrangement is a difficult task.
+However, there are certain rules that the reporter
+may apply to each story, and these are very simple.</p>
+
+<p>In the first place, almost every story has a feature&mdash;there
+is some one thing in it that is out of the ordinary,
+something that gives it interest and news
+value beyond the interest in the incident behind it.
+No two stories have the same interesting features;<span class="pagenum"><a name="Page_38" id="Page_38">[38]</a></span>
+if they had, only one of them would be worth printing
+and that would be the first. This extraordinary
+feature the reporter must see at once. If a building
+burns he must see quickly what incident in the occurrence
+will be of interest to readers who are reading
+of many fires every day. If John Smith falls off
+a street car the reporter must discover some interesting
+fact in connection with Mr. Smith's misfortune
+that will be new and attractive to readers who
+do not know John and are bored with accounts of
+other Smiths' accidents. The accident itself may
+be interesting, but the part of the accident that is out
+of the ordinary&mdash;the thing that gives the accident
+news value&mdash;is the feature of the story, and the
+reporter must tell it first.</p>
+
+<p>Thoroughly determined to tell the most interesting
+part, the gist, of his story in the first paragraph, the
+reporter must remember that there are certain other
+things about the incident that the reader wants to
+know just as quickly. There are certain questions
+which arise in the reader's mind when the occurrence
+is suggested, and these questions must be answered
+as quickly as they are asked. The questions usually
+take the form of <em>when?</em> <em>where?</em> <em>what?</em> <em>who?</em> <em>how?</em>
+<em>why?</em> If a man falls off the street car we are eager
+to know at once who he was, although we probably
+do not know him, anyway; where it happened; when<span class="pagenum"><a name="Page_39" id="Page_39">[39]</a></span>
+it happened; how he fell; and why he fell. If there
+is a fire we immediately ask what burned; where it
+was; when it burned; how it burned; and what
+caused it to burn. And the reporter must answer
+these questions with the same breath that tells us
+that a man fell off the car or that there was any fire
+at all.</p>
+
+<p>The effort to answer these questions at once has
+led to the peculiar form of introduction characteristic
+of every newspaper story. Newspaper people
+call it the lead. It is really nothing but the statement
+of the briefest possible answers to all these
+questions in one sentence or one short paragraph.
+It tells the whole story in its baldest aspects and aims
+to satisfy the reader who wants only the gist of the
+story and does not care for the details. When all
+his questions have been answered in one breath he
+is ready to read the details one at a time, but he
+won't be satisfied if he must read all about how the
+fire was discovered before he is told what building
+burned, when it burned, etc. For example:</p>
+
+<div class="block">
+<p class="nt nb">Fire of unknown origin caused the
+practical destruction of the famous old
+"Crow's Nest," at Tenth and Cedar
+streets, perhaps the best known and
+oldest landmark in the Second ward,
+yesterday afternoon.&mdash;<em>Milwaukee Free
+Press.</em></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_40" id="Page_40">[40]</a></span>
+This is the lead of an ordinary news story&mdash;a
+newspaper report of a fire. The lead begins with
+"Fire" because the story has no unusual feature&mdash;no
+element in it that is more interesting than the
+fact that there was a fire. The reporter considers
+"Fire" the most important part of his story and begins
+with it. As soon as we read the word "Fire"
+we ask, "When?"&mdash;"Where?"&mdash;"What?"&mdash;"Why?"&mdash;"How?"
+The reporter answers us in
+the same sentence with his announcement, "yesterday
+afternoon"&mdash;"at Tenth and Cedar Streets"&mdash;"the
+famous old 'Crow's Nest,' perhaps the best
+known and oldest landmark in the Second ward"&mdash;"unknown
+origin." <em>How</em> is not worth answering,
+in this case, beyond the statement that the destruction
+was practically complete. Thus the reporter
+has told us his bit of news and answered our most
+obvious questions about it at the very beginning of
+his story&mdash;in one sentence. According to newspaper
+rules this is a good lead. The order of the answers
+will be considered later. For the present we
+are concerned only with the facts that the lead must
+contain.</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_41" id="Page_41">[41]</a></span>
+<a name="v" id="v"></a>V<br />
+<br />
+<small>THE SIMPLE FIRE STORY</small></h2>
+
+
+<p>The simplest news story is the story which has no
+feature&mdash;which has no fact in it more important
+than the incident which it reports&mdash;e.g., the fire at
+the end of the last chapter. If we recall the various
+elements of news value we note that any incident
+may be given greater news value by the presence of
+some unusual or interesting feature&mdash;a great loss of
+life, an unusual time, a strikingly large loss of property,
+or simply a well-known name. Such a story is
+called a story with a feature, because its interest depends
+not so much on the incident itself as upon the
+unusual feature within the incident. On the other
+hand, many news stories do not have features. Many
+stories are worth printing simply because of the incident
+which they report, without any unusual feature
+within them. For example, a building may burn
+with no loss of life, no great loss of property, and
+no striking occurrence in connection with the burning.
+Such a fire is worth reporting, but there is no<span class="pagenum"><a name="Page_42" id="Page_42">[42]</a></span>
+fact in the story more interesting than the fact that
+there was a fire; the story has no feature.</p>
+
+<p>The leads of these two kinds of stories are different.
+When a story has a feature it is customary
+to play up that feature in the first line of the lead.
+If the story has no feature, is simply the record of a
+commonplace event, the lead merely announces the
+incident and answers the reader's questions about it.</p>
+
+<p>The commonest of featureless stories is the simple
+fire story in which nothing out of the ordinary happens,
+no one is killed, no striking rescues take place,
+and no tremendous amount of property is destroyed.
+This may be taken as typical of all featureless stories.
+The reporter, in writing a report of such a fire,
+merely answers in the lead the questions <em>when</em>,
+<em>where</em>, <em>what</em>, <em>why</em>, and perhaps <em>how</em>, that the reader
+asks concerning the fire. The most striking part
+of the story is that there was a fire; hence the story
+begins with "Fire." For example:</p>
+
+<div class="block">
+<p class="nt nb">Fire today wrecked the top of the
+six-story warehouse at 393 to 395
+Washington street, used by the United
+States army as a medical supply store-room
+for the Department of the East.
+Capt. Edwin Wolf, who is in charge
+of the warehouse, says the loss on tents,
+blankets, cots, and other bedding stored
+on the floors of the building was large.&mdash;<em>New
+York Mail.</em></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_43" id="Page_43">[43]</a></span>
+As one reads down through the rest of the story
+he finds nothing more striking than the fact that
+there was a fire. Therefore there is no particular
+feature. No one was killed; no one was injured;
+the loss was not extraordinary for a New York fire&mdash;nothing
+in the story is of greater interest than the
+mere fact that there was a fire. Hence the story begins
+with the word "Fire." Notice that it does not
+begin "A fire" or "The fire"&mdash;for the simple reason
+that the word <em>fire</em> does not need an article before it.
+The editor will also tell you that it is not considered
+good to begin a story with an article, for the beginning
+is the most important part of a story and it is
+foolish to waste that advantageous place on unimportant
+words.</p>
+
+<p>The first word tells the reader that there has been
+a fire. He immediately asks where?&mdash;what burned?&mdash;when?&mdash;how
+much was lost? And the reporter
+proceeds to answer his questions in their order of
+importance. The reporter who wrote this story apparently
+thought that the time was of greatest importance
+and slipped it in at once&mdash;"today." He
+might just as well have left the time until the end
+of the sentence because it is not of very great interest.
+He considers the question "<em>Where</em>" of next
+importance, and answers with "the top of the six-story
+warehouse at 393 to 395 Washington Street."<span class="pagenum"><a name="Page_44" id="Page_44">[44]</a></span>
+The question "what?" he answers with a clause,
+"used by the United States army as a medical supply
+store-room for the Department of the East." He
+does not try to answer the question "<em>why?</em>" because,
+as the rest of the story tells us, no one knew exactly
+what caused the fire. And as for the "<em>How?</em>" there
+is nothing extraordinary in the way that it burned
+beyond the fact that it burned. Thus, in one sentence,
+he has answered all four questions about the
+fire, except a little query concerning the amount of
+the loss. That he considers worth a separate sentence
+of details.</p>
+
+<p>This is not a perfect lead. Many editors would
+consider it faulty, but it illustrates one way of writing
+the lead of a featureless fire story. Obviously
+there are faults; for instance, the time is
+given an undue amount of emphasis and the cause
+is omitted.</p>
+
+<p>Suppose that we construct another lead from the
+same story&mdash;a lead which would be more in accordance
+with the logic of newspaper writing.
+We shall begin with the word "fire," but after it
+we shall slip in a little mention of the cause
+since to the reader not directly acquainted with the
+property that point is always of the greatest importance.
+Then we shall tell where the fire was
+and after that what was burned. And last of all<span class="pagenum"><a name="Page_45" id="Page_45">[45]</a></span>
+we shall give the time since that is of least importance
+to the average reader. This would be
+the result:</p>
+
+<div class="block">
+<p class="nt nb">Fire of unknown origin wrecked the
+top of the six-story warehouse at 393-395
+Washington street, used by the
+United States army as a medical supply
+store-room for the Department of
+the East, destroying a large number of
+tents, blankets, cots, and other bedding,
+today.</p>
+</div>
+
+<p>We might as well have put the <em>what</em> before the
+<em>where</em> or altered the lead in any other way. But we
+would always begin with the word "fire" and answer
+all the questions that the reader might ask&mdash;in one
+short simple sentence. This constitutes our lead.
+We have told the casual reader what he wants to
+know about the fire. We give him more details
+about the fire if he wants to read them, but after we
+have stated the case clearly in the lead we no longer
+reckon his time so carefully and allow ourselves
+some latitude in the telling. After the lead we begin
+the story from the beginning and tell it in its logical
+order from start to finish, always bearing in mind
+that the editor may chop off a paragraph or two at
+the end.</p>
+
+<p>Hence the second paragraph of the story as it
+appeared in <em>The Mail</em> begins:</p>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_46" id="Page_46">[46]</a></span>
+John Smith, a man employed in the
+stock-room on the sixth floor, saw
+smoke rolling out of one corner and
+notified other employees in the building,
+while Patrolman Hogan turned in
+an alarm.</p>
+</div>
+
+<p>We are back at the beginning now and telling
+things as they came. The next paragraph of the
+story tells us how they fought the fire, and the third
+tells us how they finally brought it under control.
+The last paragraph of the story reads:</p>
+
+<div class="block">
+<p class="nt nb">There are three such warehouses in
+the country, one at St. Louis, another
+at San Francisco, but the one in this
+city is by far the largest. In it are
+kept supplies for the Departments of the
+East, Gulf, Cuba, Porto Rico, and the
+Philippines.</p>
+</div>
+
+<p>The editor of <em>The Mail</em> had plenty of space that
+day and saw fit to run this last paragraph, but we
+should not have lost much had he chopped it off.
+Perhaps the reporter's copy contained still another
+paragraph telling about Captain Wolf, but that did
+not pass the editorial pencil. Even more of the
+story might have been slashed without depriving
+us of much of the interesting news.</p>
+
+<p>Judging from the above story a newspaper account
+is divided into two separate and independent
+parts: the lead and the detailed account. The lead<span class="pagenum"><a name="Page_47" id="Page_47">[47]</a></span>
+is written for the casual reader and contains all the
+necessary facts about the fire; it may stand alone
+and constitute a story in itself. The detailed account
+is written for the reader who wants to hear more
+about the incident, and is written in the logical order
+of events&mdash;with an eye to the danger of the editor's
+pencil threatening the last paragraphs. In other
+words, the reporter tells his story briefly in one paragraph
+and then goes back and tells it all over again
+in a more detailed way. If the story is of sufficient
+importance the second telling may not be sufficient
+and he may go back a third time to the beginning
+and tell it again with still greater detail&mdash;but that
+is another matter. For the present we shall consider
+only the lead and the first detailed account.</p>
+
+<p>There are certain other points to be noticed in
+the report of a featureless fire. Under no condition
+should it begin with the time. Why? Because,
+unless the time is of extreme interest, no one cares
+particularly when the fire occurred. And if the time
+is of great interest&mdash;as, for instance, if a church
+should burn while the congregation is in it&mdash;then the
+time becomes a feature to be played up and the story
+is no longer a featureless story. We are now considering
+stories in which nothing is of greater interest
+than the mere fact that there was a fire.</p>
+
+<p>The same is true of the location. Who cares what<span class="pagenum"><a name="Page_48" id="Page_48">[48]</a></span>
+street the fire was on until he knows more about the
+fire? If the location were of such significant importance
+as to be played up, the story would no
+longer be a featureless story.</p>
+
+<p>The paragraphing is also important. Since the
+lead is in itself a separate part of the story it should
+always be paragraphed separately. Do not let the
+beginning of the detailed account lap over into the
+lead, and do not introduce into the first paragraph
+any facts which are not absolutely a part of the lead&mdash;that
+is, facts that are absolutely essential to a general
+knowledge of the fire. When once you begin
+to tell the story in detail tell it logically and paragraph
+it logically. Do not tell us that John Smith
+discovered the fire and that the loss is $500 in the
+same paragraph. Take up each point separately and
+treat it fully before you leave it&mdash;then begin a new
+paragraph for the next item.</p>
+
+<hr class="hr6" />
+
+<p>To take a hypothetical case, suppose that misfortune
+visits the home of John H. Jones, who lives at
+79 Liberty Street. A defective flue sets his house
+on fire and it burns to the ground. By inquiry we
+find that the house is worth about $4,000 and is fully
+insured.</p>
+
+<p>There is nothing particularly striking about the
+story. We are sorry for Mr. Jones, but many<span class="pagenum"><a name="Page_49" id="Page_49">[49]</a></span>
+houses worth $4,000 are set on fire by poor chimneys
+and many more houses burn down. No one
+was hurt, no one was killed; the most striking part
+of it all is that there was a fire. We would begin
+with the word "Fire." Perhaps our readers would
+be most interested in the cause of the fire and we
+shall tell them that first. Then we shall tell them
+what burned, when it burned, and where it stood.
+There is nothing else that a casual reader would
+want to know and the lead would read:</p>
+
+<div class="block">
+<p class="nt nb">Fire starting in a defective chimney
+destroyed the residence of John H.
+Jones, 79 Liberty street, at midnight last
+night, causing a loss of $4,000, covered
+by insurance.</p>
+</div>
+
+<p>Our casual reader is satisfied. For the reader
+who wishes to know more about the fire we add a
+paragraph or two of detail. First, we may tell him
+who discovered the fire; then how the Jones family
+managed to escape; and after that how the fire was
+extinguished, and we might slip in a paragraph explaining
+just what trouble in the chimney made a
+fire possible. The editor may chop off any number
+of paragraphs or cut the story down to the lead, and
+yet our readers will get the facts and know just exactly
+what was the reason for the fire bell and the
+red sky at midnight last night.</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_50" id="Page_50">[50]</a></span>
+<a name="vi" id="vi"></a>VI<br />
+<br />
+<small>THE FEATURE FIRE STORY</small></h2>
+
+
+<p>A fire story without a feature begins with "Fire"
+because there is nothing in the story more interesting
+than the fact that there has been a fire. Such was
+the case in the burning of John Jones's house in the
+last chapter. But just as soon as any part of the
+story becomes more interesting than the fact that
+there was a fire, the story is no longer featureless&mdash;it
+is a fire story with a feature, or, for the purposes
+of our study, <em>a feature fire story</em>. This feature may
+be related to the story in one of two ways. In the
+first place, the answer to some one of the reader's
+questions may be the feature&mdash;e.g., the answer to
+<em>when</em>, <em>where</em>, <em>what</em>, <em>how</em>, <em>why</em>, <em>who</em>. On the other
+hand, the feature may be in some unexpected attendant
+circumstance that the reader would not think
+of; for instance, loss of life, an interesting rescue, or
+something of that sort. Such a distinction is entirely
+arbitrary and would not be considered in a
+newspaper office, but it will make the matter simpler
+for the purposes of study.</p>
+
+
+<p class="c2"><span class="pagenum"><a name="Page_51" id="Page_51">[51]</a></span>
+A. FEATURES IN ANSWERS TO READER'S CUSTOMARY
+QUESTIONS</p>
+
+<p class="c">(<em>When</em>, <em>Where</em>, <em>What</em>, <em>How</em>, <em>Why</em>, <em>Who</em>).</p>
+
+<p>Suppose that John Jones's house did not burn in
+the usual way&mdash;suppose that there is some striking
+incident in the story that makes it different from
+other fire stories. The story has a feature. Perhaps
+the answer to some one of the reader's customary
+questions is more interesting than the answers to
+the others&mdash;so much more interesting that it supersedes
+even the fact that there was a fire. Then it
+would be foolish to begin with the mere word "fire"
+when we have something more interesting to tell.
+The fire takes a second place and we begin with the
+interesting fact that supersedes it. For the present
+we shall consider that this interesting fact is the
+answer to one of the questions that the reader always
+asks; for instance, why the house burned or
+when it burned.</p>
+
+<p><b>1. Why.</b>&mdash;Perhaps Mr. Jones's house was set on
+fire in a very unusual way. There was a little party
+in session at the Jones's and some one decided to
+take a flash-light picture. The flash-light set fire
+to a lace curtain and before any one could stop it
+the house was afire. Few fires begin in that way,<span class="pagenum"><a name="Page_52" id="Page_52">[52]</a></span>
+and our readers would be very interested in hearing
+about it. The story has a feature in the answer to
+the reader's <em>Why?</em> And so we would begin our
+lead in this way:</p>
+
+<div class="block">
+<p class="nt nb">A flashlight setting fire to a lace
+curtain started a fire which destroyed
+the residence of John H. Jones, 79 Liberty
+street, at 11 o'clock last night and
+caused a loss of $4,000.</p>
+</div>
+
+<p>In this way the feature is played up at the beginning
+of the sentence, and yet the rest of the reader's
+questions are answered in the same sentence and he
+knows a great deal about the fire. Or, leaving Mr.
+Jones to his fate, we may give another example of
+an unusual cause taken from a newspaper. This
+was a big fire, and yet the unusual cause was of
+greater interest than the fire itself or the amount of
+property destroyed:</p>
+
+<div class="block">
+<p class="nt nb">A tiny "joss stick," the lighted end of
+which was no larger than a pinhead,
+is thought to have been responsible for
+a fire that destroyed the White City
+Amusement Park at Broad Ripple last
+night. The loss to the amusement company
+is $161,000.&mdash;<em>Indianapolis News.</em></p>
+</div>
+
+<p><b>2. Where.</b>&mdash;To return to Mr. Jones, there may
+have been some other incident in the burning of his<span class="pagenum"><a name="Page_53" id="Page_53">[53]</a></span>
+house aside from the cause that was of exceptional
+interest. Let us say that his house stood in a part
+of the town where a fire was to be feared. Perhaps
+it stood within twenty feet of the new First Congregational
+Church. The burning of Jones's house
+would then be insignificant in comparison to the
+danger to the costly edifice beside it, and our readers
+would be more interested in an item concerning their
+church. The answer to <em>Where?</em> is more interesting
+than the fire itself. Hence we would bury, so to
+speak, Mr. Jones's misfortune behind the greater
+danger, and the story would read:</p>
+
+<div class="block">
+<p class="nt nb">Fire endangered the new First Congregational
+Church on Liberty street,
+erected at a cost of $100,000, when the
+home of J. H. Jones, in the rear of the
+church, was destroyed at midnight last
+night.</p>
+</div>
+
+<p>Or:</p>
+
+<div class="block">
+<p class="nt nb">The First Congregational Church, recently
+built at a cost of $100,000, was
+seriously threatened by a fire which destroyed
+the residence of John H. Jones,
+78 Liberty street, within twenty feet of
+the church, at midnight last night.</p>
+</div>
+
+<p>Turning again to the daily papers, we can find
+many fire stories in which the location of the burned<span class="pagenum"><a name="Page_54" id="Page_54">[54]</a></span>
+structure is important enough to take the first line
+of the lead. Here is one:</p>
+
+<div class="block">
+<p class="nt nb">The Plaza Hotel had a few uncomfortable
+moments last night when flames
+from a building adjoining at 22 West
+Fifty-ninth street were shooting up as
+high as the tenth story of the hotel and
+the fire apparatus which responded to
+the delayed alarm was looking for the
+blaze several blocks away.&mdash;<em>New York
+Sun.</em></p>
+</div>
+
+<p><b>3. When.</b>&mdash;Sometimes the time of the fire is very
+interesting. John H. Jones's house may have caught
+fire from a very insignificant thing and its location
+may have been unimportant, but the fire may have
+come at an unusual time. Perhaps Mr. Jones's
+daughter was being married at a quiet home wedding
+in her father's house and in the midst of the
+ceremony the roof of the house burst into flames.
+The unusual time would be interesting; the answer
+to <em>When?</em> would be the feature. We might write
+the lead thus:</p>
+
+<div class="block">
+<p class="nt nb">During the wedding of Miss Mary
+Jones at the home of her father, John
+H. Jones, 78 Liberty street, last night,
+the house suddenly burst into flames
+and the bridal party was compelled to
+flee into the street.</p>
+</div>
+
+<p>Or:</p>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_55" id="Page_55">[55]</a></span>
+Fire interrupted the wedding of Miss
+Mary Jones at her father's home, 78
+Liberty street, last night, when the
+house caught fire from a defective chimney
+during the ceremony.</p>
+</div>
+
+<p>The daily papers furnish many illustrations of
+fires at unusual times&mdash;here is one:</p>
+
+<div class="block">
+<p class="nt nb">When the snowstorm was at its height
+early this morning, a three-story brick
+building at Nos. 4410-18 Third Avenue,
+Brooklyn, caught fire, and the flames
+spread rapidly to an adjoining tenement,
+sending a small crowd of shivering tenants
+into the icy street.&mdash;<em>New York
+Post.</em></p>
+</div>
+
+<p><b>4. What.</b>&mdash;(<em>a</em>) <em>The Burned Building.</em>&mdash;Many fire
+stories have their feature in the answer to the reader's
+<em>What?</em> Not infrequently the building itself is
+of great importance. Naturally "The residence of
+John H. Jones" would not make a good beginning,
+if John Jones is not well known, because people
+would be more interested in reading about a mere
+fire than in reading about the residence of John H.
+Jones, whom they do not know. For it must be remembered
+that it is the first line that catches the
+reader's eye and the interest or lack of interest in
+the first line determines whether or not the story is<span class="pagenum"><a name="Page_56" id="Page_56">[56]</a></span>
+to be read. Now, suppose that a building that is
+very well known burns&mdash;the City Hall, the Albany
+State House, the Herald Square Theater&mdash;the mere
+mention of the building will attract the reader's attention.
+Therefore the reporter begins with the answer
+to <em>What?</em> the name of the building, as in the
+following cases:</p>
+
+<div class="block">
+<p class="nt nb">GLENS FALLS, N. Y., Aug. 17.&mdash;The
+Kaatskill House, for many years a
+popular Lake George resort, was completely
+destroyed by fire this forenoon.&mdash;<em>New
+York Times.</em></p>
+</div>
+
+<div class="block">
+<p class="nt nb">The First M. E. Church of Chelsea,
+familiarly known as the Cary avenue
+church, was damaged last night to the
+amount of $7,000 by fire.&mdash;<em>Boston Herald.</em></p>
+</div>
+
+<p>(<em>b</em>) <em>The Amount of Property Destroyed.</em>&mdash;The
+answer to <em>What burned?</em> is not necessarily a building,
+for the building itself may not be worth featuring.
+The contents of the building may be more interesting,
+especially if the amount of property destroyed
+can be put in striking terms, such as $2,000,000
+worth of property, or two thousand chickens,
+or fifty-three automobiles, or 7,000 gallons of
+whisky. These figures printed at the beginning of
+the first paragraph catch the reader's eye, thus:</p>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_57" id="Page_57">[57]</a></span>
+Five automobiles, valued at $5,800,
+and property amounting to $6,200 were
+destroyed last evening when fire broke
+in the repair shop of the G. W. Browne
+Motor company, 228-232 Wisconsin
+street, near the North-Western station.&mdash;<em>Milwaukee
+Sentinel.</em></p>
+</div>
+
+<p><b>5. How.</b>&mdash;Very rarely the manner in which a fire
+burns is quite unique and deserves featuring. It is
+inconceivable that John Jones's house could burn in
+any very unusual way&mdash;"with many explosions,"
+"with a glare of flames that aroused the whole city,"
+"with vast clouds of oily smoke"&mdash;but some fires do
+burn in some such a way and are interesting only for
+the way they burned. The following story begins
+with the answer to <em>How?</em> although the manner
+might be described more explicitly:</p>
+
+<div class="block">
+<p class="nt nb">Stubborn fires have been fought in the
+past, but one of the hardest blazes to
+conquer that the local department ever
+contended with gutted the plant of N.
+Drucker &amp; Co., manufacturers of trunks
+and valises, at the northwest corner of
+Ninth and Broadway, last night.&mdash;<em>Cincinnati
+Commercial Tribune.</em></p>
+</div>
+
+<p><b>6. Who.</b>&mdash;Just as it would be foolish to begin with
+"the residence of John Jones," since the building is
+not well known, it would not be advisable to begin
+with John Jones's name, no matter what part he<span class="pagenum"><a name="Page_58" id="Page_58">[58]</a></span>
+played. John Jones is not well known and so to
+the newspaper he is just a man and is treated impersonally
+regardless of what he does or what happens
+to him. Our interest in him is entirely impersonal,
+and all we want to know about him is what
+he has done or what has happened to him. Therefore
+few reporters would begin a story with John
+Jones's name. However, let some man who is well
+known do or suffer the slightest thing and his name
+immediately lends interest to the story&mdash;and therefore
+commands first place in the introduction. If
+John D. Rockefeller should even witness a fire, or if
+President Taft should be in the slightest way connected
+with a fire, the mere fire story would shrink
+into significance behind the name. And so, very
+often it is advisable to begin a fire story with a name,
+if the name is of sufficient prominence. It is not
+necessary that the well-known man's property be destroyed
+or even endangered for his name to have the
+first place in the first sentence of the lead; if the
+well-known man has anything whatever to do with
+the fire his name should be featured because to the
+average reader the interest in his name overshadows
+any interest in the fire. In this example, the name
+overshadows a striking loss of property and the story
+begins with the answer to <em>Who?</em></p>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_59" id="Page_59">[59]</a></span>
+NEW YORK, Nov. 6.&mdash;While Clendenin
+J. Ryan, son of Thomas F. Ryan,
+the traction magnate, and a band of volunteer
+fire fighters&mdash;many of them millionaires&mdash;fought
+a blaze which started
+in the garage of young Ryan's country
+estate near Suffern, N. Y., early in the
+morning, three valuable automobiles,
+seven thoroughbred horses and several
+outbuildings were totally destroyed.&mdash;<em>Milwaukee
+Sentinel.</em></p>
+</div>
+
+<p>It will be seen that in each of the above feature
+fire stories some incident in the fire, or connected
+with the fire, overshadows the mere fact that there
+was a fire and makes it advisable to begin the story
+of the fire with the fact or incident of unusual interest.
+Furthermore, in each of these stories the unusual
+feature in the story is a direct answer to one
+of the reader's questions&mdash;<em>when?</em> <em>where?</em> <em>how?</em>
+<em>what?</em> <em>why?</em> <em>who?</em> In other words, the reporter in
+answering these questions, as he must in the lead of
+every story, finds the answer to one question so
+much more interesting than the answer to any of the
+other questions that he puts it first. In every fire
+story, however, the feature is not so easily discovered.</p>
+
+<p class="c2"><span class="pagenum"><a name="Page_60" id="Page_60">[60]</a></span>
+B. FEATURES IN UNEXPECTED ATTENDANT CIRCUMSTANCES</p>
+
+<p>There are other things in the day's fire stories,
+besides the answers to the reader's questions, that
+may overshadow the rest of the story and deserve to
+be featured. Very often there are unexpected attendant
+circumstances occurring simultaneously with
+the fire or resulting from the fire to command our
+interest. Perhaps a number of people are killed or
+injured; then we want to know about them first, and
+the reporter neglects to answer our questions for the
+moment while he tells us the startling attendant circumstances
+that we had not expected. Even so,
+while giving first place to the feature, he does not
+forget our questions but answers them in the same
+sentence. Hence the introduction of a fire story
+with significant attendant circumstances begins with
+the startling fact resulting from the fire and then
+goes on to answer the reader's questions&mdash;in the
+same sentence.</p>
+
+<p>This is not so difficult as it may sound. Suppose
+that when John Jones's house burns there is a stiff
+breeze blowing and the chances are that all the other
+houses in the block will go with it. All of his neighbors
+become frightened and work with feverish
+haste to move their household goods out into the<span class="pagenum"><a name="Page_61" id="Page_61">[61]</a></span>
+street. In the end the fire department succeeds in
+confining the fire to Mr. Jones's house and his
+neighbors promptly carry their chattels back indoors
+thanking the god of good luck. Now the mere fact
+that John Jones's house burned down is rather insignificant
+beside the fact that a dozen families were
+driven from their homes by the fire. Therefore the
+reporter would begin thus:</p>
+
+<div class="block">
+<p class="nt nb">Twelve families were driven from
+their homes by a fire which destroyed
+the residence of John H. Jones, 78 Liberty
+street, at 11 o'clock last night. The
+fire was at length kept from spreading
+and the neighboring residences were
+reoccupied.</p>
+</div>
+
+<p>Or to take an incident from the daily press in
+which the neighbors were not so fortunate; although
+they might have entirely lost their homes:</p>
+
+<div class="block">
+<p class="nt nb">Twenty-two families in the six-story
+tenement at 147 Orchard street were
+routed out of the house twice early today
+by fires which caused a great deal
+of smoke, but little real damage.&mdash;<em>New
+York Mail.</em></p>
+</div>
+
+<p><b>1. Death.</b>&mdash;(a) <em>Number of Dead.</em>&mdash;The most
+usual attendant circumstances that will come to our
+notice is death in the fire. Let us say that Mr.
+Jones's three children were alone in the house and<span class="pagenum"><a name="Page_62" id="Page_62">[62]</a></span>
+burned to death. Their death would be of more interest
+to us than the burning of their father's house&mdash;and
+our story would necessarily begin in this way:</p>
+
+<div class="block">
+<p class="nt nb">Three children were burned to death
+in a fire which destroyed the home of
+their father, John H. Jones, 78 Liberty
+street, last night.</p>
+</div>
+
+<p>So common is death in connection with fire that
+almost every day's paper contains one or more stories
+beginning "Ten persons were cremated&mdash;&mdash;" or
+"Four firemen were killed&mdash;&mdash;" And in every case
+the loss of human life is considered of greater importance
+than any other incident in the story, and
+the number of dead always takes precedence over
+many another startling feature. Here are a few
+examples:</p>
+
+<div class="block">
+<p class="nt nb">JOHNSTOWN, Pa., Jan. 18.&mdash;Seven
+men were cremated in a fire that burned
+to the ground three double houses near
+Berlin, Somerset County, early this
+morning.&mdash;<em>New York Sun.</em></p>
+</div>
+
+<div class="block">
+<p class="nt nb">Three children of Mr. and Mrs. Bernard
+Lindberg, 3328 Nineteenth avenue
+south, were cremated in a fire which
+destroyed their home shortly after 12
+o'clock yesterday. The children had
+been left alone in the house, shut up in
+their bedroom, etc.&mdash;<em>St. Paul Pioneer
+Press.</em></p>
+</div>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_63" id="Page_63">[63]</a></span>
+One fireman was killed, another fireman
+and a woman were injured and
+eight people escaped death by a narrow
+margin Saturday night in a fire
+which destroyed the, etc.&mdash;<em>Milwaukee
+Sentinel.</em></p>
+</div>
+
+<div class="block">
+<p class="nt nb">NEW YORK, March 27.&mdash;One hundred
+and forty-one persons are dead as
+a result of the fire which on Saturday
+afternoon swept the three upper floors
+of the factory loft building at the northwest
+corner of Washington place and
+Greene street. More than three-quarters
+of this number are women and girls,
+who were employed in the Triangle
+Shirt Waist factory, where the fire originated.&mdash;<em>Boston
+Transcript.</em></p>
+</div>
+
+<p>(b) <em>List of Dead.</em>&mdash;When the number of dead or
+injured reaches any very significant figure it is customary
+to make a table of dead and injured. This
+table is usually set into the story close after the lead,
+but very often the list is put in a "box" and slipped
+in above the story. In writing the story, however,
+the reporter disregards the table and begins his lead
+as if there were no table: e.g., "Twelve firemen were
+killed and fourteen injured in a fire&mdash;&mdash;" The list
+usually gives the name, address (or some other identification),
+and the nature of the injury, thus:</p>
+
+<div class="block">
+<p class="c"><span class="pagenum"><a name="Page_64" id="Page_64">[64]</a></span>
+<b>Injured Firemen:</b></p>
+
+<p>Capt. Frank Makal, Engine Co. No.
+4, cut by glass.</p>
+
+<p>Acting Captain W. E. Brown, fire
+boat No. 23, cut by glass.</p>
+
+<p>Peter Ryan, No. 15, flying glass.&mdash;<em>Milwaukee
+Free Press.</em></p>
+</div>
+
+<p>Or:</p>
+
+<div class="block">
+<p class="c"><b>The Dead:</b></p>
+
+<p>Mrs. Charles Smith, 14 W. Gorham
+street.</p>
+
+<p>John Johnson, 1193 Chatham street.</p>
+
+<p class="c"><b>The Injured:</b></p>
+
+<p>Thomas Green, 1111 Grand street;
+face cut by flying glass.</p>
+
+<p>James Brown, 176 Orchard avenue;
+internal injuries; may die.</p>
+</div>
+
+<p>(c) <em>Manner of Death.</em>&mdash;A number of fatalities at
+the beginning always attracts attention. Not infrequently
+the manner or the cause, especially in the
+case of a single death, is worth the first place in the
+lead&mdash;not as "One man killed&mdash;&mdash;" but as "Crushed
+beneath a falling wall, a man was killed." If a man
+burns to death in a very unusual way, or for an unusual
+reason, we are more interested in the way he
+was burned, or the reason that he burned, than in
+the mere fact that he was burned to death. The
+first line then tells us how or why he was burned.
+Thus:</p>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_65" id="Page_65">[65]</a></span>
+To save his money, which he hoped
+would some day raise him from the
+rank of a laborer to that of a prosperous
+merchant, Hing Lee, a Chinese
+laundryman, ran back into his burning
+laundry at 3031 Nicollet avenue today,
+after he was once safe from the flames,
+and was so badly burned that physicians
+say he cannot live.&mdash;<em>Minneapolis
+Journal.</em></p>
+</div>
+
+<p><b>2. Injuries.</b>&mdash;Very often no one is killed in a fire
+but some one is injured. For example, five firemen
+are overcome by ammonia fumes or two men are
+seriously injured by a falling wall. This then becomes
+the feature. Injuries to human beings, if
+serious or in any considerable number, take precedence
+over other features, just as loss of human life
+does. Here is an example from the press in which
+all the injuries are gathered together at the beginning:</p>
+
+<div class="block">
+<p class="nt nb">Six firemen and two laborers were
+overcome by smoke, while three other
+firemen received minor injuries by flying
+glass in a fire which broke out yesterday
+morning at 10:30 o'clock in the
+Wellauer-Hoffman building, at, etc.&mdash;<em>Milwaukee
+Free Press.</em></p>
+</div>
+
+<p><b>3. Rescues.</b>&mdash;(a) <em>Number of People Rescued.</em>&mdash;When
+people are rescued from great danger in a<span class="pagenum"><a name="Page_66" id="Page_66">[66]</a></span>
+fire their escape makes a very good feature. If many
+of them are rescued or escape very narrowly, the
+mere number of people saved deserves the first place,
+as:</p>
+
+<div class="block">
+<p class="nt nb">More than 150 men and women were
+saved from death today in a fire at 213-217
+Grand street by toboganning from
+the roof of the burning structure on a
+board chute to the roof of an adjoining
+five-story building.&mdash;<em>New York Mail.</em></p>
+</div>
+
+<p>(b) <em>Manner of Rescue.</em>&mdash;But more often the
+manner of their escape interests us most. If a man
+slides down a rope for four stories to escape death
+by fire we are more interested in how he saved himself
+than in the fact that he didn't burn, and so we
+tell how he escaped, in the first line. In the same
+way, if unusual means are used to save one or more
+persons, the means of rescue is usually worth featuring.
+For example:</p>
+
+<div class="block">
+<p class="nt nb">Overcoats used as life nets saved the
+lives of a dozen women and children
+in a fire of incendiary origin in the
+three-story frame tenement house at 137
+Havemeyer avenue, Brooklyn, to-day,
+etc.&mdash;<em>New York Mail.</em></p>
+</div>
+
+<p><b>4. Property Threatened.</b>&mdash;Death and injury are the
+commonest unexpected circumstances in fire stories,
+but they are not the only ones that may be worth<span class="pagenum"><a name="Page_67" id="Page_67">[67]</a></span>
+featuring. There is an inconceivable number of
+things that may happen at a fire and overshadow
+all interest in the fire itself. A good feature may
+be found in the property that is threatened. Often
+the fire in itself is insignificant, but because of a
+high wind or other circumstances it threatens to
+spread to neighboring buildings or to devastate a
+large area. In such a case the amount of property
+threatened or endangered deserves a place in the
+very first line, especially if it exceeds the amount of
+property actually destroyed and if it can be put in a
+striking way; <em>i. e.</em>, the entire waterfront district, or
+twenty-five dwelling houses, or $5,000,000 worth of
+property. When contrasted with the small amount
+of damage actually done, the amount that is threatened
+becomes more important. Thus:</p>
+
+<div class="block">
+<p class="nt nb">Fire that for a time threatened $2,000,000
+worth of property destroyed $15,000
+worth of lumber owned by the
+Milwaukee Lumber Company, 725 Clinton
+street, yesterday....</p>
+
+<p class="nt nb">The territory between Mitchell street
+and the Kinnickinnic river and Reed
+street, to the lake, containing manufactories,
+dwellings and stores, was menaced.&mdash;<em>Milwaukee
+News.</em></p>
+</div>
+
+<p><b>5. Fire Fighting.</b>&mdash;Not unusually a serious fire results
+from the fact that it was not checked for some<span class="pagenum"><a name="Page_68" id="Page_68">[68]</a></span>
+reason or other during its earlier stages. Perhaps
+the whole thing might have been avoided, or, on the
+contrary, a big fire may be extinguished with unexpected
+ease or unusual skill. In rare cases this matter
+of very efficient or very inefficient fire fighting is
+of sufficient importance to take the first place in the
+lead. For example:</p>
+
+<div class="block">
+<p class="nt nb">Almost total lack of water pressure
+is blamed for the big loss in a fire
+started by a firebug to-day in the five-story
+factory building of Lamchick
+Brothers, manufacturing company, 400-402
+South Second street, Williamsburg.&mdash;<em>New
+York Mail.</em></p>
+</div>
+
+<div class="block">
+<p class="nt nb">Rotten hose, which burst as fast as it
+was put in use, imperiled the lives of
+more than a score of firemen to-day at
+a blaze which swept the three-story
+frame flat house at Third avenue and
+Sixty-seventh street, Brooklyn, from
+cellar to roof, etc.&mdash;<em>New York Mail.</em></p>
+</div>
+
+<p><b>6. Crowd.</b>&mdash;Not uncommonly in the city a tremendous
+crowd gathers to watch a fire and blocks traffic
+for hours. In the absence of other significant incidents&mdash;death,
+great loss, etc.&mdash;the reporter may begin
+his story with an account of the crowd present
+or the blockade of traffic. Such a beginning should
+always be used only as a last resort when a fire has
+no other interesting phase, for crowds always gather<span class="pagenum"><a name="Page_69" id="Page_69">[69]</a></span>
+at fires and only a very serious blocking of traffic
+is worth reporting. Thus:</p>
+
+<div class="block">
+<p class="nt nb">Fully 15,000 persons were attracted
+to the scene of the fire in the portion
+of the plant of the Greenwald Packing
+Company, Claremont Stock Yards,
+which was discovered at 4:56 yesterday
+afternoon.&mdash;<em>Baltimore American.</em></p>
+</div>
+
+<div class="block">
+<p class="nt">Twenty-five thousand people jammed
+Broadway between Bleecker and Bond
+streets yesterday noon and had the excitement
+of watching 250 girls escape
+from a twelve-story loft building which
+was afire.&mdash;<em>New York Sun.</em></p>
+</div>
+
+<p><b>7. Miscellaneous.</b>&mdash;There is an infinite number of
+things that may happen at a fire and overshadow the
+mere fire interest. These are the things that make
+one fire different from another, and whenever they
+are of sufficient importance they become the feature
+to be played up in the first line of the introduction.
+It would be impossible to enumerate all the unexpected
+things that might happen during a fire. It is
+this element of unexpected possibilities that makes
+the reporting of fires interesting, and an alert reporter
+is ever on the lookout for a new and unusual
+development in the fire to be used as the feature of
+his story. Here are the leads of a few fire stories
+clipped from the daily newspapers:</p>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_70" id="Page_70">[70]</a></span>
+With her home on fire and the smoke
+swirling around her head, Mrs. B. B.
+Blank, a well-known leader of the social
+set of Roland Park, bravely stood
+by her telephone and called upon the
+Roland Park Fire Company for aid
+shortly after 8 o'clock this morning.&mdash;<em>Baltimore
+Star.</em></p>
+</div>
+
+<div class="block">
+<p class="nt nb">Four charming young women attired
+in masculine apparel were the unexpected
+and embarrassed hosts of four companies
+of fire department "laddies" last
+night, when fire broke out, etc.&mdash;<em>Milwaukee
+Free Press.</em></p>
+</div>
+
+<div class="block">
+<p class="nt">For the first time since its installation
+the high-pressure water power system
+was relied upon solely last night to
+fight a Broadway fire, and Chief Croker
+said that he was well satisfied with its
+work. The fire began on the third floor
+of the six-story, etc.&mdash;<em>New York Times.</em></p>
+</div>
+
+
+<p class="c2">C. FIRE STORIES WITH MORE THAN ONE FEATURE</p>
+
+<p>It would appear from the foregoing examples that
+almost every fire story has a feature. And so it usually
+has. The great majority of fires that are worth
+reporting at all have some unusual incident connected
+with them that overshadows the mere fire
+itself. Sometimes the features are not of great
+significance, but it is only as a last resort that a reporter<span class="pagenum"><a name="Page_71" id="Page_71">[71]</a></span>
+begins his story with "Fire"&mdash;only when the
+most ordinary of fires is to be covered.</p>
+
+<p>Unusual features are so common in connection
+with fires that very often a single fire has more than
+one unusual feature. Perhaps the cause of the fire
+is exceptionally striking and at the same time the
+amount of property destroyed is of great news value
+in itself. Or the time and some unexpected attendant
+circumstance are both worth the first place. In
+that case the reporter has to choose between the two
+features and begin with the one that seems to him
+to be the more striking. The other feature or features
+may often be arranged in the order of importance
+immediately after the most striking fact at
+the beginning, provided that this does not make the
+lead unduly complicated.</p>
+
+<p>For instance, a cold storage warehouse burns and
+four firemen are overcome by the fumes from the
+ammonia pipes. Next door is a hospital and the
+flames frighten the patients almost into a panic.
+Either one of these incidents is worth the first line
+of the story. But which one is of the greater importance?
+Naturally the element of danger to human
+life must be considered first and the actual disabling
+of four firemen is of greater significance than
+a possible panic in the hospital. Following that line
+of logic our story would begin:</p>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_72" id="Page_72">[72]</a></span>
+Four firemen were overcome by ammonia
+fumes and a panic in the St.
+Charles Hospital was narrowly averted,
+as a result of a fire which destroyed
+the cold storage warehouse of, etc.</p>
+</div>
+
+<p>Such a lead would not be too complicated for
+practical purposes. But suppose that around the
+corner from the cold storage warehouse is a livery
+in which fifty horses are stabled. The flames
+frighten the horses and they break loose and stampede
+in the streets. The story now has three features
+of striking interest. It would be possible to
+combine them all in the lead and to begin in this
+way:</p>
+
+<div class="block">
+<p class="nt nb">Four firemen were overcome by ammonia
+fumes, a panic was narrowly
+averted in the St. Charles Hospital, and
+fifty frightened horses stampeded in the
+streets as a result of a fire, etc.</p>
+</div>
+
+<p>But see how far from the beginning the fire, the
+actual cause of it all, is placed. The fire is buried
+behind a mass of details and the reader is confused.
+The lead is not a happy one. The only thing to do
+is to break up the mass of details and put part of
+them immediately after the lead. The arrangement
+is a matter that must be left to the judgment of the
+reporter.<span class="pagenum"><a name="Page_73" id="Page_73">[73]</a></span></p>
+
+<p>This, however, is an extreme case because the various
+features are so disconnected and separate. The
+reporter would have little trouble if the several features
+were more alike. For instance, if one of the
+walls of the building had fallen and killed three firemen
+the case would have been simpler. The death
+of these men so far overshadows the other unusual
+incidents that it drives them out of the lead altogether.
+For we do not care about horses and frightened
+patients when men are crushed beneath falling
+walls. All that we are concerned with in our lead
+now is the dead and injured&mdash;with a feature like
+this we can trust our readers to go into the story far
+enough to pick up the other interesting features; we
+would begin in this way:</p>
+
+<div class="block">
+<p class="nt nb">Three firemen were killed by falling
+walls and four others were overcome by
+ammonia fumes in a fire which destroyed
+the cold storage, etc.</p>
+</div>
+
+<p>The combination of dead and injured makes a
+good beginning, and it is always advisable to begin
+with such an enumeration whenever it is possible.
+Where the features are not so significant as death
+and injuries the matter of arranging more than one
+striking detail at the beginning of the lead becomes
+a greater problem. It must be left to one's own
+judgment and common sense. The lead must not be<span class="pagenum"><a name="Page_74" id="Page_74">[74]</a></span>
+too long or complicated, and one must hesitate before
+burying the really important facts of the story
+behind several lines of more or less unusual details.
+Just as soon as the lead becomes at all confusing take
+out the details and put them into the story later.</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_75" id="Page_75">[75]</a></span>
+<a name="vii" id="vii"></a>VII<br />
+<br />
+<small>FAULTS IN NEWS STORIES</small></h2>
+
+
+<p>Before we go on to the consideration of other
+kinds of news stories it will be well to consider in
+greater detail the facts we have learned from writing
+up fires. Our fire stories should have taught us a
+number of things about the form of the news story.
+Let us sum them up.</p>
+
+<p><b>Paragraph Length.</b>&mdash;We have seen that newspaper
+writing has a characteristic style of its own. In
+the first place notice the length of a newspaper paragraph.
+Count the number of words in an average
+paragraph and compare it with the number of words
+in a literary paragraph. We find that the newspaper
+paragraph is much shorter. There is a reason for
+this. Imagine a 150-word literary paragraph set up
+in a newspaper. There are about seven words to
+the line in a newspaper column and one hundred and
+fifty words would make something over twenty lines.
+Try to picture a newspaper made up of twenty-line
+paragraphs; it would be extremely difficult to read.<span class="pagenum"><a name="Page_76" id="Page_76">[76]</a></span>
+We glance over a newspaper hastily and our haste
+requires many breaks to help us in gathering the
+facts. Hence the paragraphs must be short; the very
+narrowness of the newspaper column causes them to
+be shortened. The average lead, you will find, contains
+less than fifty words and the paragraphs following
+it are not much longer.</p>
+
+<p><b>Sentence Length.</b>&mdash;Notice sentence lengths as compared
+with literary sentences. You will find that
+newspaper sentences usually fall into two classes: the
+sentences in the lead and the sentences in the body
+of the story. The first sentence is usually rather
+long&mdash;thirty to sixty words. But the sentences in
+the body of the story are much shorter than most
+literary sentences. Why is this? It results from
+exactly the same thing that makes the newspaper
+paragraphs short&mdash;the need of many breaks. Thus,
+after we finish a lead, we must fall into short sentences.
+They need not be choppy sentences, but they
+must be simple and easy to read.</p>
+
+
+<p class="c2">THE LEAD AND THE BODY OF THE STORY</p>
+
+<p>Our study of the fire story has shown that newspaper
+stories always have two separate and distinct
+parts: the lead and the body of the story. In writing
+the story a reporter must consider each part<span class="pagenum"><a name="Page_77" id="Page_77">[77]</a></span>
+separately, although the reader does not distinguish
+between the two parts. Before writing a word the
+reporter must decide exactly what facts and details
+he is to put in the lead and exactly what fact he is
+going to play up in the first line, taking care to begin
+with the most interesting part of the story.
+After the lead is finished he writes the main body of
+the story in accordance with the rules of ordinary
+English composition. Each part must be separate
+and independent of the other.</p>
+
+<p><b>The Lead.</b>&mdash;The lead itself is always paragraphed
+separately. Usually it consists of a single sentence,
+although it is much better to break it into two than
+to make the sentence too long and complicated. As
+we have said before, the lead must not only tell the
+most interesting fact or incident in the story, but it
+must answer the natural questions that the reader
+immediately asks about this matter; i.e., when,
+where, what, why, who, and how. These questions
+must be answered briefly and concisely in their order
+of importance, and the most unusual answer or the
+most striking part of the story must precede all the
+rest. Beyond the answers to these questions there
+is no space for details in the lead. Every word must
+have a purpose and a necessary purpose or it must
+be cut out and relegated to the body of the story.
+No space should be given to explanations of minor<span class="pagenum"><a name="Page_78" id="Page_78">[78]</a></span>
+importance. State the content of the news story as
+completely, accurately, and concisely as possible so
+that the reader may know just what happened, when
+it happened, where, to whom, and perhaps how and
+why it happened. Then begin a new paragraph and
+start the body of the story.</p>
+
+<p>Many editors require that the lead consist of one
+long sentence and yet it must be grammatical.
+Many reporters forget all about English grammar
+in their attempt to crowd everything they know into
+one sentence. But mere quantity does not make the
+lead good; it must be grammatical and easy to read.
+The verb must have a grammatical subject and, if it
+is an <em>active</em> verb, it must have a grammatical predicate.
+Clauses and modifiers must be attached in a
+way that cannot be overlooked. Dangling participles
+and absolute constructions should be shunned.
+All of the modifying clauses must be gathered together
+either before or after the principal clause.
+Everything must be compact and logical. Many papers
+disregard this matter, as will be seen in some
+of the extracts quoted in this book, but the best
+papers do not.</p>
+
+<p>Every lead should be so constructed that it may
+stand alone and be self-sufficient. Never should a
+reporter trust to headlines to enlighten his readers
+upon the meaning of the lead&mdash;the exact reverse of<span class="pagenum"><a name="Page_79" id="Page_79">[79]</a></span>
+this must be true. The story is written first and the
+headlines are written from the facts contained in
+the lead&mdash;and usually by another man. In writing
+the lead disregard the existence of headlines, for
+many readers do not read them at all. This is but
+an amplification of the old rule of composition that
+any piece of writing should be independent of its
+title. The title may be lost, but the essay must be
+clear without it.</p>
+
+<p>There are many ways of beginning a lead in order
+to embody the feature in the first line. At first
+glance the operation of putting the emphasis of a
+sentence at the beginning, rather than at the end,
+may seem difficult, but with a clear idea of the rules
+of dependence in English grammar a reporter may
+transpose any clause to the beginning and thus play
+up the content of the clause. For instance, in this
+lead,</p>
+
+<div class="block">
+<p class="nt nb">Fire, starting in a moving picture theatre,
+4418 Third avenue, drove the tenants
+of the building out into the icy
+street while the snowstorm was at its
+height shortly before 12 o'clock last
+night.</p>
+</div>
+
+<p class="noi">the striking feature of the story is buried&mdash;we do
+not get the unusual picture of a little group of people
+shivering in the street during a blinding snowstorm<span class="pagenum"><a name="Page_80" id="Page_80">[80]</a></span>
+while they watch their homes burn. A simple
+transposition of the <em>while</em>-clause puts the feature in
+the first line. Thus:</p>
+
+<div class="block">
+<p class="nt nb">While the snowstorm was at its
+height shortly before 12 o'clock last
+night, fire, starting in a moving picture
+theatre, 4418 Third avenue, drove the
+tenants of the building out into the
+icy street.</p>
+</div>
+
+<p class="noi">The lead is not perfect now; it might be greatly improved,
+but it is better than before.</p>
+
+<p>A few of the possible beginnings for a lead are:</p>
+
+<p>1. <em>Noun.</em>&mdash;The simplest beginning of a lead is of
+course the use of a noun as subject of the principal
+verb. For example, "Fire destroyed the residence
+of&mdash;&mdash;" or "A flashlight setting fire to a lace curtain
+started a fire&mdash;&mdash;" or "The Plaza Hotel had a
+few uncomfortable moments last night&mdash;&mdash;" etc.
+The subject of the verb may of course have its modifiers&mdash;adjectives
+and phrases&mdash;but it should not be
+separated too widely from its verb. One point is to
+be noted in the use of a simple noun at the beginning;
+an article should not precede the noun if it can
+be avoided, for the very simple reason that an article
+is not worth the important space that it takes at the
+beginning of the lead. In the case of fire no article
+is necessary. In other cases it is usually possible to<span class="pagenum"><a name="Page_81" id="Page_81">[81]</a></span>
+put in an adjective or some other word that will take
+the article's place. However, never begin a story
+like this: "Supreme Court of the United States decided&mdash;&mdash;"
+or "Young man in evening dress was
+arrested last night&mdash;&mdash;" or "House of John Smith
+was destroyed yesterday&mdash;&mdash;". Obviously something
+is lacking and, if no other word will supply the
+lack, use the article, <em>the</em> or <em>a</em>. When the <em>noun</em>-beginning
+is used the reporter must never forget that
+two or more nouns, however different, if subject of
+the same verb, require a plural verb. The verb may
+be active or passive, whichever is more convenient,
+but rarely is the object of an active verb put first&mdash;simply
+because English cannot bear this transposition
+of subject and predicate.</p>
+
+<p>2. <em>Infinitive.</em>&mdash;Other parts of speech aside from
+nouns may be subjects of verbs and so other parts
+of speech as subjects of the principal verb of the
+lead may be placed at the beginning of the lead. An
+infinitive with its object and modifier may occupy
+the first line as subject of the main verb; e.g.:</p>
+
+<div class="block">
+<p class="nt nb">To rescue his own son during the
+burning of his own house was a part
+of yesterday's work for Fireman Michael
+Casey, who, etc.</p>
+</div>
+
+<p class="noi">Here the infinitive "to rescue" and its object are the
+subject of the verb "was," and the construction is<span class="pagenum"><a name="Page_82" id="Page_82">[82]</a></span>
+perfectly grammatical. Unfortunately the English
+language has another infinitive which very much resembles
+a present participle&mdash;the infinitive ending
+in <em>-ing</em>; e.g., <em>rescuing</em>. Without an article this part
+of speech must, of course, be used only as an adjective,
+but with an article it becomes an infinitive,
+to be treated as a noun; e.g., <em>the rescuing of</em>. It
+would be perfectly grammatical to begin the above
+lead in this way: "The rescuing of his own son ... was
+the work, etc." But it would be ungrammatical
+to begin it thus: "Rescuing his own son was the
+work, etc." For in the second case the word "rescuing,"
+if used with an object, is not an infinitive but a
+participle, and must be used only as an adjective,
+thus: "Rescuing his own son, Fireman Casey performed
+his duty, etc.," or "In rescuing his own son,
+Fireman Casey performed his duty." The two uses
+should never be confused.</p>
+
+<p>3. <em>Clause.</em>&mdash;Another expression that may be used
+as subject of the lead's principal verb is a clause&mdash;usually
+a <em>that</em>-clause. For instance, "That the entire
+wholesale district was not destroyed by fire last
+night is due to, etc." Here the <em>that</em>-clause is subject
+of the verb is and the expression is entirely grammatical
+as well as very useful as a beginning.</p>
+
+<p>4. <em>Prepositional Phrase.</em>&mdash;When the feature of a
+story is an action rather than a thing, a noun can<span class="pagenum"><a name="Page_83" id="Page_83">[83]</a></span>
+hardly be used to express it. Very often this lead
+may be handled by means of a prepositional phrase
+at the beginning. For example, one of the stories
+in the last chapter begins: "With her home on fire
+and with smoke swirling around her head, Mrs.
+John, etc." In this case the prepositional phrase
+modifies the subject and should not be far from it.
+Another variation of this is the prepositional phrase
+of time, modifying the verb; e.g., "During the wedding
+of Miss Mary Jones, last night, the house suddenly
+caught fire, etc." This beginning is effective
+if it is not overworked, but the reader should never
+be held back from the real facts of the story by a
+string of complicated phrases, intended to build up
+suspense.</p>
+
+<p>5. <em>Participial Phrase.</em>&mdash;Very much like the prepositional
+phrase beginning is the participial beginning.
+"Sliding down an eighty-foot extension ladder
+with a woman in his arms, Fireman John Casey
+rescued, etc." It must be borne in mind that the
+participial phrase must modify a noun and there
+should be no doubt in the reader's mind as to the
+noun that it modifies. It would of course be absurd
+to say "Sliding down an eighty-foot extension ladder,
+fire seriously burned John Casey&mdash;&mdash;," but
+such things are often said. Never should this participial
+phrase be used as the subject of a verb, as<span class="pagenum"><a name="Page_84" id="Page_84">[84]</a></span>
+"Returning home and finding her house in ashes was
+the unusual experience of Mrs. James, etc." The
+phrase must always modify a noun just like an adjective.</p>
+
+<p>6. <em>Temporal Clause.</em>&mdash;A feature may often be
+brought to the beginning of the lead by a simple
+transposition of clauses. Should the time be important
+a subordinate <em>when</em> or <em>while</em> clause may precede
+the principal clause of the sentence; i.e., "When
+the snowstorm was at its height early this morning,
+a three-story brick building burned, etc.," or "While
+15,000 people watched from the street below, 250
+girls escaped from the burning building at, etc."</p>
+
+<p>7. <em>Causal Clause.</em>&mdash;Should the cause of an action
+or an occurrence be attractive enough for the first
+line, a <em>for</em> or a <em>because</em> clause may begin the lead.
+"Because a tinsmith upset a pot of molten solder on
+the roof of pier No. 19, two steamers were burned,
+etc."</p>
+
+<hr class="hr6" />
+
+<p>This does not exhaust the list of possible beginnings.
+There are a dozen possible constructions for
+the beginning of any story; these are merely the
+commonest ones. Anything unusual or of doubtful
+grammar should be avoided because of the many
+possible alternatives that present themselves. And
+in every lead correct grammar should be considered<span class="pagenum"><a name="Page_85" id="Page_85">[85]</a></span>
+above all else. If a lead is ungrammatical no clever
+arrangement of details can make it effective or other
+than ludicrous. For instance, this lead, taken from
+a newspaper, illustrates an unfortunate attempt to
+crowd too many details into a short lead:</p>
+
+<div class="block">
+<p class="nt nb">Bitten by a rattlesnake, Myrtle Olson's
+leg was slashed with a table knife,
+washed the wound with kerosene, then
+covered the incision with salt by her
+mother. Myrtle still lives.</p>
+</div>
+
+<p class="noi">Another paper tried to arrange it more happily,
+thus:</p>
+
+<div class="block">
+<p class="nt nb">Bitten by a rattlesnake, Myrtle Olson's
+mother slashed her daughter's leg
+with a table knife, washed the wound
+with kerosene, then covered the incision
+with salt. Myrtle still lives.</p>
+</div>
+
+<p class="noi">There is evidently something wrong in this. It
+would be a good exercise to try to express the idea
+grammatically.</p>
+
+<hr class="hr6" />
+
+<p>Before we go on to the consideration of the body
+of this story a few <em>Don'ts</em> in regard to writing leads
+may be in order.</p>
+
+<p>Don't begin a lead with a person's name unless
+the person is well known. We are always interested
+in anything unusual that a man may do or anything<span class="pagenum"><a name="Page_86" id="Page_86">[86]</a></span>
+unusual that he may suffer, but unless we know the
+man we are not at all interested in his name. Suppose
+that a man performs some thrilling act or suffers
+some unusual misfortune in a city of 100,000
+people. Probably not more than one hundred people
+know him, and of that number only one or two will
+read the story. Then why begin with his name when
+his action is of greater interest to all but a few of
+our readers? And yet every reader wants to know
+whether the victim is one of his friends. Therefore
+the man's name must be mentioned in the lead, although
+it should not come at the beginning. On the
+other hand, if the man is prominent in the nation or
+the community and well known to all our readers, his
+name adds interest to the story and we begin with
+the name. There is a growing tendency among
+American newspapers to begin all of their stories
+with a name. The tendency appears to be the result
+of an attempt to break away from the conventional
+lead and to begin in a more natural way&mdash;also an
+easier way. But the name beginning is after all
+illogical, and any reporter is safe in following the
+logical course in the matter. If the name is not
+important begin with something that is important.</p>
+
+<p>Don't waste the main verb of the sentence on a
+minor action while expressing the principal action in
+a subordinate clause. This is a violation of emphasis.<span class="pagenum"><a name="Page_87" id="Page_87">[87]</a></span>
+For example, "Fatally burned by an explosion
+in his laundry, Hing Lee was taken to the hospital."
+Naturally he would be taken to the hospital, but why
+put the emphasis of the whole sentence on that
+point?</p>
+
+<p>Don't resort to the expression "was the unusual
+experience of&mdash;&mdash;" "was the fate of&mdash;&mdash;" or any
+like them. Every word in the lead must count, and
+here are five words that say nothing at all. Use their
+place to tell what the unusual experience was. For
+instance, don't say "To stand in a driving snowstorm
+and watch their homes burn to the ground was the
+unusual experience of two families, living at, etc.";
+say instead, "Standing in a driving snowstorm two
+families watched their homes burn to the ground."
+The latter says the same thing more effectively in
+less space. The use of this expression&mdash;"was the
+unusual experience of"&mdash;is always the mark of a
+green reporter.</p>
+
+<p>Don't overwork the expression "Fire broke out."
+All fires "break out," but usually we are more interested
+in the result of the fire than in its "breaking
+out." Try to use some expression that will give
+more definite information.</p>
+
+<p>Don't be wordy. Editors are always calling for
+shorter and more concise leads. If you can say a
+thing in two words don't use half a dozen. For example,<span class="pagenum"><a name="Page_88" id="Page_88">[88]</a></span>
+"Four members of the local fire department
+were rendered unconscious by the deadly fumes from
+bursting ammonia pipes." This takes three times as
+much space as "Four firemen were overcome by ammonia
+fumes," and it does not express the idea any
+more effectively.</p>
+
+<p>Don't introduce minor details into the lead. If
+the reader wants the details he may read the rest of
+the story. Take the following lead as an example:</p>
+
+<div class="block">
+<p class="nt nb">Rushing back into his burning laundry,
+a one-story brick building, to rescue
+from the flames his savings,
+amounting to $437, with which he hoped
+to raise himself from the rank of laborer
+to that of a prosperous merchant,
+and which was hidden under the mattress
+of his bed in the back room of the
+laundry, Hing Lee, a Chinaman, who
+lives at 79 Nicollett avenue and has
+been in this country but three months,
+was overcome by smoke and so seriously
+burned that he had to be removed
+to the St. Mary Hospital and may not
+live, when his establishment was destroyed
+by a fire which, starting from
+the explosion of the tank of the gasolene
+stove on which he was cooking his dinner,
+gutted his laundry, entailing a loss
+of $1,000, shortly before noon to-day.</p>
+</div>
+
+<p class="noi">It is entirely grammatical, but if the reader succeeds
+in wading through it there is nothing left to tell<span class="pagenum"><a name="Page_89" id="Page_89">[89]</a></span>
+about the fire. Why not begin the story in this way
+and leave something for the rest of the story?</p>
+
+<div class="block">
+<p class="nt nb">Because he rushed back into his burning
+laundry to rescue his savings, Hing
+Lee, a Chinese laundryman, 79 Nicollett
+avenue, was seriously burned to-day.</p>
+</div>
+
+<p>Don't waste the first line of the lead on meaningless
+generalities. Get down to the facts at once.
+For instance, "The presence of mind and bravery of
+Fireman David Mullen saved Mrs. Daniel Looker
+from being burned to death in her flat, etc." We are
+willing to grant his bravery and presence of mind,
+but we want to know at once what he did: "By
+sliding down an eighty-foot extension ladder through
+flames and smoke with an unconscious woman in his
+arms, Fireman David Mullen rescued Mrs. Daniel,
+etc." Equally useless is the beginning, "A daring
+rescue of an unconscious woman from the fourth
+story of a blazing flat building was made by Fireman
+David Mullen to-day, etc." Tell what the daring
+rescue was and let the reader manufacture a fitting
+eulogy.</p>
+
+<p>Don't exaggerate the facts to make a feature.
+When a few persons are frightened don't turn it into
+a dreadful panic. Every little fire is not a holocaust
+and the burning of a small barn does not endanger<span class="pagenum"><a name="Page_90" id="Page_90">[90]</a></span>
+the entire city, unless your imagination is strong
+enough to guess what might have happened had
+there been a high wind and no fire engines. A narrow
+escape from death does not always excuse the
+beginning, "Scores killed and injured would have
+been the result, <em>if</em>&mdash;&mdash;" All beginnings of this kind
+give a false impression and do not tell the truth. If
+a story has no striking feature be satisfied to tell the
+truth about it without trying to make a world-wide
+disaster out of it for the sake of a place on the front
+page. Exaggeration for a feature is one of the bad
+elements of sensational journalism. For example,
+seven lives were lost in this fire, but this is the
+way the story was written, for the sake of a three-column
+scare-head:</p>
+
+<div class="block">
+<p class="nt nb">That 500 sleeping babes and 100 more
+who were kneeling in prayer in St.
+Malachi's Home, a Roman Catholic institution
+for the care of orphans at
+Rockaway Park, are alive to-day is due
+to the coolness of the nuns in charge
+and the children's remembrance of their
+teacher's fire drills.</p>
+</div>
+
+<p class="noi">The suspense is built up in such a way that at the
+end of the lead we do not know what happened and
+read on with breathless interest to find that there
+was a small fire at the Home and seven children
+were burned.<span class="pagenum"><a name="Page_91" id="Page_91">[91]</a></span></p>
+
+<p><b>The Body of the Story.</b>&mdash;"A good beginning is
+half done," according to the proverb. In writing a
+news story a good beginning is more than half done&mdash;two-thirds
+at least. The lead is the beginning,
+and when that has been written we are ready to go
+on to the body of the story with a clear conscience.</p>
+
+<p>Our lead has told the reader the main facts of the
+case and the most unusual feature. If he reads
+further he is looking for details. In giving him these
+we return to the ordinary rules of narration. We
+start at the very beginning of the story and tell it
+logically and in detail to the end. We tell it as
+if no lead preceded it and repeat in greater detail the
+incidents briefly outlined in the lead. Never should
+the body of the story depend upon the lead for clearness.
+If the feature of the story is a rescue and you
+have briefly described the rescue in the lead, ignore
+the lead and describe the rescue all over again in
+the body of the story in its proper place. The number
+of details that are to be introduced into the story
+is limited only by the space that the story seems
+to be worth. But no point should be mentioned
+in the story unless space permits of its being made
+clear.</p>
+
+<p>The ordinary rules of English composition apply
+to the writing of the body of the story. The copy
+must be paragraphed, cut up into paragraphs that<span class="pagenum"><a name="Page_92" id="Page_92">[92]</a></span>
+are rather shorter than ordinary literary paragraphs,
+since the narrowness of the newspaper column makes
+the paragraph seem longer. Heterogeneous details
+must not be piled together in the same paragraph,
+but the facts must be grouped and handled logically.
+No paragraph should be noticeably longer than the
+others, and it is decidedly bad to paragraph one sentence
+alone simply because it does not seem to go in
+with any other sentence. If the fact is important
+expand it into a paragraph by the introduction of
+further details; if it is unimportant either cut it out
+of the story altogether or attach it to the paragraph
+to which it seems most logically to belong.</p>
+
+<p>One fact, already stated, must be borne in mind as
+the body of the story progresses. The report should
+be built up in such a way that the editor can slash
+off a paragraph or two at the end without injuring
+the story&mdash;without sacrificing any important facts.
+To do this the reporter should bring the important
+parts of the story as near the beginning as the logical
+order will permit. The interest of a perfect news
+story is like an inverted cone. The interest is abundant
+at the beginning and gradually dwindles out
+until there is nothing more to say when the end is
+reached. Just how far the dwindling should be carried
+depends upon the amount of space that the story
+seems to be worth in the paper.<span class="pagenum"><a name="Page_93" id="Page_93">[93]</a></span></p>
+
+<p>This may seem difficult. It may be hard to see
+how a story can be told in its logical order while at
+the same time the most interesting facts are placed
+at the beginning, even if they logically belong near
+the end. For example, we may take the story of an
+unusual robbery. A well-dressed man goes into a
+grocery store to get some butter and tries to rob the
+grocer. In the ensuing scuffle the would-be robber
+escapes. A young woman who happens to be passing
+sees the end of the fight and pursues the robber
+down the street until he runs into a saloon. She
+calls a policeman who is standing on the corner and
+the officer rushes into the saloon, up three flights of
+stairs and finds the robber on the roof behind a
+chimney. The officer shouts to another policeman,
+and together they arrest the robber.</p>
+
+<p>Now, what is the most interesting thing in the
+story? Probably the pursuit&mdash;a young woman chasing
+a robber down the street. Our lead might be
+written in this way:</p>
+
+<div class="block">
+<p class="nt nb">After being chased down Sixth street
+by a young woman, a robber, who had
+attempted to rob the grocery store of
+Charles Young, 1345 Sixth street, was
+arrested on the roof of a saloon at 835
+Sixth street, at 7 o'clock last night.</p>
+</div>
+
+<p class="noi">The lead might be arranged in a different way, but<span class="pagenum"><a name="Page_94" id="Page_94">[94]</a></span>
+these are the facts that it would contain. Before we
+consider the arrangement of the body of the story
+it may be well to go back to the interviews by which
+we secured the story. In getting the facts we would
+probably talk to Young, the groceryman, and to the
+saloonkeeper into whose establishment the robber
+fled. We could probably interview the policeman
+who made the arrest, but let us suppose that the
+young woman could not be found. The groceryman
+would tell us about the attempted robbery and the
+escape, with the girl in pursuit. The saloonkeeper
+would tell us how the man fled into his saloon and
+ran up the stairs to the roof; then how two policemen
+came and made the arrest. The policeman could
+tell us how a young woman ran up to him and told
+him that a robber had fled into the saloon; then he
+would describe the arrest. None of these stories is
+told just as we want the newspaper story&mdash;each one
+tells us only a part of the story. If the finished story
+were written by a green reporter it would probably
+tell the story in the order in which it was obtained.
+That is if the reporter saw the policeman first, then
+the saloonkeeper, and lastly the groceryman; his
+story would tell in the first paragraph what the policeman
+said, in the second paragraph what the
+saloonkeeper said, and in the last paragraph what the
+grocer said. At least that is the way in which green<span class="pagenum"><a name="Page_95" id="Page_95">[95]</a></span>
+reporters in the classroom attempted to write the
+story.</p>
+
+<p>But, obviously, that is not the logical way to tell
+the story. The finished account should be written in
+the order in which it happened: i.e., first the robbery,
+then the pursuit, and lastly the arrest. This would
+be the ideal way to tell the story&mdash;according to the
+rules of English composition&mdash;if we could be sure
+that the entire story would be printed. But if it
+were written in this way and the editor decided to
+slash off the last paragraph, what would go? Obviously
+the arrest would not be printed; and the arrest
+was quite interesting. We must find some way
+to bring the arrest nearer to the beginning. This
+may be done by selecting the most interesting parts
+of the story&mdash;by picking out the high spots, as it
+were. In this story the high spots are the attempted
+robbery, the pursuit, and the arrest. The details
+that fill in between are interesting, but not so interesting
+as these high spots. Hence these high spots
+of interest must be pushed forward toward the beginning.
+After the lead the story would begin at the
+beginning and tell the affair briefly by high spots in
+their proper order. It might be something like this:</p>
+
+<div class="block">
+<p class="nt nb">As Charles Young was closing his
+grocery last evening a young man came
+in and asked for a pound of butter.<span class="pagenum"><a name="Page_96" id="Page_96">[96]</a></span>
+Young turned to get it and his customer
+struck him over the head with a
+chair. The grocer grappled with his
+assailant and they fell through the front
+door. In the scramble, the robber broke
+away and ran down Sixth street. A
+young woman who was passing
+screamed and ran after him until he
+disappeared into a saloon.</p>
+
+<p class="nt">The young woman called Policeman
+Smith, who was standing nearby on
+Grand avenue, and the latter found the
+would-be robber on the roof of the saloon.
+After a struggle, Smith arrested
+the man, with the aid of another policeman.</p>
+</div>
+
+<p class="noi">The above account tells us briefly the most interesting
+parts of the story. A copyreader might not find
+it perfect, for the assault is allotted too much space
+and the pursuit too little, but it tells the story in its
+baldest aspect. This, with the lead, could be run
+alone. However, perhaps the story is worth more
+space; at any rate, many interesting details have been
+omitted. If so, go back to the most interesting part
+of the story&mdash;the assault, perhaps, or the pursuit&mdash;and
+tell it with more details. Then retell some other
+part with more details. If your readers are interested
+enough to read beyond the first three paragraphs
+they want details and will not be so particular
+about the order&mdash;for they already know how the
+story is going to end.</p>
+
+<p><span class="pagenum"><a name="Page_97" id="Page_97">[97]</a></span>
+This is one way of meeting the requirements of
+logical order and dwindling interest. This is a particularly
+hard story to arrange in the conventional
+way since we must have the whole story to be interested
+in any single part&mdash;it has too many striking incidents
+in it. On the other hand, a story which contains
+only one striking incident is much easier to
+handle. Suppose that we are reporting a fire which
+is interesting only for its cause or for a daring rescue
+in it. Our lead would suggest this interesting
+element and the first part of our story would be devoted
+entirely to the cause or to the rescue, as the
+case might be. But it is better to sketch briefly, immediately
+after or very close to the lead, the entire
+story, for our readers want to know how it ends
+before they can be interested in any particular part.
+If we sketch the whole story and show them that
+there is only one important thing in the story, they
+will be satisfied to read about the one striking incident
+without wondering if there is not something
+more interesting further on. If we leave the conclusion
+of the story to the end of our copy the editor
+may cut it off and leave our story dangling in midair.
+Every story must be treated in its own way,
+according to its own incidents and difficulties; no
+two stories are alike in substance or treatment. In
+every one our aim must be to keep to the logical<span class="pagenum"><a name="Page_98" id="Page_98">[98]</a></span>
+order and at the same time to put the most interesting
+parts of the story near the beginning.</p>
+
+<p>The construction of the body of a story may be
+illustrated more clearly by a fatal fire story&mdash;since
+fire stories are more uniform, and hence easier to
+write than other news stories. Let us suppose that
+the story is as follows: At four o'clock in the afternoon
+a fire started from some unknown cause in the
+basement of a four-story brick building at 383-385
+Sixth Street, occupied by the Incandescent Light
+Company. Before the fire company arrived the
+flames had spread up through the building and into
+an adjoining three-story brick building at 381 Sixth
+Street, occupied by Isaac Schmidt's second-hand
+store and home on the first and second floors and by
+Mrs. Sarah Jones's boarding house on the third.
+The Schmidts were away and Mrs. Jones's lodgers
+escaped via the fire escapes. Her cook, Hilda
+Schultz, was overcome by smoke and had to be carried
+out by Jack Sweeney, a lodger. Mrs. Jones fell
+from the fire escape and was badly bruised. Meanwhile
+the firemen were at work on the roof of the
+burning four-story building. Blinded by the smoke,
+one of them, John MacBane, stepped through a skylight
+and fell to the fourth floor. His comrades
+tried to rescue him by lowering Fireman Henry
+Bond into the smoke by the heels; they were unsuccessful<span class="pagenum"><a name="Page_99" id="Page_99">[99]</a></span>
+and Bond broke his arm in the attempt. The
+fire was confined to the lower floors of the two buildings
+and extinguished. In searching for MacBane,
+the firemen found him suffocated on the fourth floor
+where he had fallen.</p>
+
+<p>The feature of the story is evidently the one death
+and the three injuries. Our lead might be written
+as follows:</p>
+
+<div class="block">
+<p class="nt nb">One fireman was suffocated and three
+other persons were injured in a fire in
+the Incandescent Light Company's plant,
+383-385 Sixth street, and an adjoining
+three-story building, late yesterday afternoon.</p>
+</div>
+
+<p class="noi">This lead would suggest to the reader many interesting
+details to come in the body of the story, and evidently
+the details are not all of equal importance.
+The story could be told in its logical order, but, since
+the death is more interesting than the origin of the
+fire and the injuries are more significant than how
+the fire spread, it is obvious that it would not be best
+to tell the story in the order in which it is told above.</p>
+
+<p>Disregarding the lead, we must cover the following
+details in the body of our story:</p>
+
+<ul>
+<li>Description of buildings and occupants.</li>
+<li><span class="pagenum"><a name="Page_100" id="Page_100">[100]</a></span>Origin of fire.</li>
+<li>Discovery of fire.</li>
+<li>Spread of flames.</li>
+<li>Injury of Mrs. Jones.</li>
+<li>Rescue of Hilda Schultz.</li>
+<li>Death of MacBane.</li>
+<li>Injury of Bond.</li>
+<li>Fire extinguished.</li>
+</ul>
+
+<p class="noi">This is the order in which things occurred at the fire.
+However, in our lead, we have drawn attention to
+our story by announcing that it concerns a fire in
+which a man was killed; the death therefore should
+have first place in the body of the story. Hence, in
+the second paragraph immediately after the lead, we
+must tell how MacBane fell through the skylight
+and was suffocated. Along with his death we may
+as well tell how Bond broke his arm trying to rescue
+MacBane. Our lead has also announced two other
+injuries and, hence, they must be included next&mdash;that
+is, our third paragraph must be devoted to the
+injury of Mrs. Jones and the rescue of the unconscious
+Hilda. But as yet our details are hanging in
+the air because we have not said anything about the
+buildings or the fire itself. In the next paragraph
+it would be well to describe the buildings and their
+occupants and to give a very brief account of the
+course of the fire&mdash;perhaps in this way:</p>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_101" id="Page_101">[101]</a></span>
+Flames were first discovered in the
+basement of the Incandescent building
+and before the fire department arrived
+had spread through the lower floors and
+into the adjoining three-story building.
+The absence of elevator shafts and air-shafts
+enabled the firemen to extinguish
+the blaze before it reached the upper
+floors.</p>
+</div>
+
+<p class="noi">This tells the main course of the fire, but there are
+some interesting details to add: first, the origin of
+the fire; next, the discovery; then more about how
+the fire spread; and lastly, how the fire was extinguished.
+Our story by paragraphs would read as
+follows:</p>
+
+<div class="block2">
+<p>1st Paragraph&mdash;The lead.</p>
+
+<p>2d Paragraph&mdash;Death of MacBane and injury of
+Bond.</p>
+
+<p>3d Paragraph&mdash;Mrs. Jones's injury and Hilda's
+rescue.</p>
+
+<p>4th Paragraph&mdash;Buildings, occupants, brief course
+of fire.</p>
+
+<p>5th Paragraph&mdash;Detailed account of origin of the
+fire.</p>
+
+<p>6th Paragraph&mdash;How the fire was discovered.</p>
+
+<p>7th Paragraph&mdash;More about the spread and
+course of the fire.</p>
+
+<p>8th Paragraph&mdash;How the fire was extinguished.<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span></p>
+
+<p>9th Paragraph&mdash;Loss, insurance, extent of damage.</p>
+</div>
+
+<p>Thus, while telling the story almost in its logical
+order, we have picked out the high spots of interest
+and crowded them to the beginning. Our readers
+will get the facts just about as fast as they wish to
+read them and in the order in which they wish them.
+Our story may be run in nine paragraphs or even
+more; or the editor may slash off anything after the
+fourth paragraph without taking away any of the
+essential facts of the fire. This method of telling
+would fulfill all the requirements of an ideal news
+story. A similar outline of the facts that any story
+must present will often help a reporter to tell his
+story as it should be told. After listing the details
+he may number them in their order of importance
+and check them off as he has told them.</p>
+
+<hr class="hr6" />
+
+<p>This idea of throwing the emphasis and interest
+to the beginning applies to the individual paragraphs
+and sentences of the story, as well. Each paragraph
+must begin strongly and display its most interesting
+content in the first line. The emphatic part of each
+sentence should be the beginning. A glance at any
+newspaper column shows why this is necessary.</p>
+
+<p>The body of a news story is the place for the reporter's<span class="pagenum"><a name="Page_103" id="Page_103">[103]</a></span>
+skill and style. He is given all the liberties
+of ordinary narration and should make the most of
+every word. His individual style comes into play
+here. If the interest can be increased by a bit of
+dialogue the reporter may put it in. If the facts
+can be presented more effectively by means of direct
+quotation, the words of any one whom the reporter
+has interviewed may be of interest. However, these
+things must not be overworked because every trick
+of writing loses its effectiveness when it is overworked.</p>
+
+<p>Dialogue used only to give facts which might be
+told more clearly in simple direct form should seldom
+be used. Dialogue in a news story is used only to
+color the story and not to reproduce the interviews
+by which the facts were obtained. In gathering the
+facts of a story it is sometimes necessary to interview
+a number of people, but these interviews should
+not be quoted in the resulting story. Many a green
+reporter tries to give his story character by telling
+what the policeman on the corner, the janitor, and a
+small boy in the street told him about the incident.
+He succeeds only in dragging out the length of his
+story and confusing the reader. After all, the purpose
+of a newspaper is to give facts&mdash;and the clearer
+and the more direct the method the better will be
+the result.</p>
+
+<p><span class="pagenum"><a name="Page_104" id="Page_104">[104]</a></span>
+In striving for clearness and interest a reporter
+must remember that one of his greatest assets is concreteness
+of expression. Of all forms of composition
+newspaper writing possesses probably the greatest
+opportunity for definiteness. Facts and events
+are its one concern; theories and abstractions are
+beyond its range. Hence the more definite and concrete
+its presentation of facts, the better will be its
+effect. The reporter should never generalize or
+present his statements hazily and uncertainly&mdash;a fact
+is a fact and must be presented as such. He must
+try to avoid such expressions as "several," "many,"
+"a few"&mdash;it is usually possible to give the exact
+number. He must continually ask himself "how
+many?" "what kind?" "exactly when?" "exactly
+what?" Expressions like "about a dozen," "about
+thirty years old," "about a week ago," "about a
+block away," are never so effective as the exact facts
+and figures. Definite concrete details make a news
+story real and vivid. The real reporter of news is
+the one who can see a thing clearly and with every
+detail and present it as clearly and distinctly.</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_105" id="Page_105">[105]</a></span>
+<a name="viii" id="viii"></a>VIII<br />
+<br />
+<small>OTHER NEWS STORIES</small></h2>
+
+
+<p>The fire story is obviously not the only news story
+that is printed in a daily newspaper, but a study of
+its form gives us a working knowledge of the writing
+of other news stories. The fire story is probably
+the commonest news story, and it is by far the
+easiest story to handle, for its form has become
+somewhat standardized. We know just exactly what
+our readers want to know about each fire, and within
+certain limits all fires, as well as the reports of them,
+are very much alike. There is seldom more than
+one fact or incident that makes one fire different
+from another and that fact we always seize as the
+feature of our report. However, the fire story has
+been taken only as typical of other news stories.
+Now we are ready to study the others, using the fire
+story as our model in writing the others.</p>
+
+<p>There is a vast number of other stories that we
+must be able to write, and they lack the convenient
+uniformity that fires have. Not only does every<span class="pagenum"><a name="Page_106" id="Page_106">[106]</a></span>
+story have a different feature, but it is concerned
+with a different kind of happening. One assignment
+may call for the report of an explosion, another the
+report of a business transaction, and another a murder.
+In each one we have to get the facts and choose
+the most striking fact as our feature. Never can
+we resort to the simple beginning "Fire destroyed,"
+but we must find a different beginning for each assignment.</p>
+
+<p>Just as in the fire story, the lead of any news
+story is the most important part. It must begin with
+the most striking part of the event and answer the
+reader's <em>Where?</em> <em>When?</em> <em>How?</em> <em>Why?</em> and <em>Who?</em>
+concerning it. All the rules that apply to the fire
+lead apply to the lead of any story.</p>
+
+<p>It would be impossible to classify all the news
+stories that a newspaper must print. The very zest
+of reporting comes from the changing variety of the
+work; no two assignments are ever exactly alike&mdash;if
+they were only one would be worth printing.
+Newspapers themselves make no attempt to classify
+the ordinary run of news or to work out a systematic
+division of labor; a reporter may be called
+upon to cover a fire, a political meeting, a murder, a
+business story, all in the same day. Each one is
+simply a story and must be covered in the same way
+that all the rest are covered&mdash;by many interviews for<span class="pagenum"><a name="Page_107" id="Page_107">[107]</a></span>
+facts. For our study it may be well to divide news
+stories into a few large groups. The groups overlap
+and are not entirely distinct, but the stories in
+each group have some one thing in common that
+may aid us in learning how to write them. At most,
+the list is only a very incomplete summary of the
+more important kinds of news stories and is intended
+to be merely a suggestive way of supplying the student
+with necessary practice.</p>
+
+<p><b>1. Accidents.</b>&mdash;Accident stories may be anything
+from a sprained ankle to a disastrous railroad wreck,
+but they all depend upon one element for their interest.
+They are all printed because people in general
+are interested in the injuries and deaths of other
+people&mdash;physical calamity is the common ground in
+all these stories.</p>
+
+<p>The number of possible accidents is infinite, but
+there are some common types that recur most often.
+Among these are: railroad, trolley, railroad crossing
+accidents; runaways; electrocutions; explosions; collapse
+of buildings; marine disasters; cave-in accidents;
+elevator, automobile, aviation accidents.</p>
+
+<p>The feature of any accident story is always, of
+course, the thing that made the story worth printing,
+and that is usually the human life element. The
+feature of an accident story is almost always the
+number of dead and injured. Most reports of railroad<span class="pagenum"><a name="Page_108" id="Page_108">[108]</a></span>
+wrecks begin with "Ten persons were killed and
+seventeen were injured in a wreck, etc." The same
+is true of any accident story; if more than one person
+is killed it is usually safe to begin with the number
+of fatalities. In this connection it may be noted
+that the death of railroad employees seldom makes
+a story worth printing; they may be included in the
+total number, but if no passengers are killed, fatalities
+among trainmen seldom give a story any news
+value.</p>
+
+<p>Accident stories of course have many other possible
+features; newspapers report many accidents in
+which no one is killed. In that case some other element
+gives the story news value and that element
+must be played up as the feature. Perhaps it is the
+manner in which the accident happened or the manner
+in which a person was killed or injured, as in
+an automobile accident. The cause of the accident
+may be the most interesting part of the story: train-wreckers
+or a broken rail in a railroad wreck, or the
+cause of an explosion. Very often an accident is reported
+simply because some well-known person was
+connected with it in some way; the name then becomes
+the feature and comes into the first line. A
+story may be worth printing simply because of the
+unusual manner of rescue; such a feature is often
+played up in stories of marine accidents, cave-ins,<span class="pagenum"><a name="Page_109" id="Page_109">[109]</a></span>
+etc. Not infrequently some of the unusual attendant
+circumstances give a story news value: e.g., a policeman
+dragged from his horse and run over by an
+automobile while he is trying to stop a runaway.</p>
+
+<p>Here are some accident stories from the newspapers:</p>
+
+<p class="noi nb">Fatalities:</p>
+
+<div class="block nt nb">
+<p class="nt nb">Six men were killed and a dozen seriously
+injured early to-day by an outbound
+Panhandle passenger train crashing
+into the rear end of a Chicago, Milwaukee
+and St. Paul stock train at
+Twelfth and Rockwell streets.&mdash;<em>Chicago
+Record-Herald.</em></p>
+</div>
+
+<p class="noi nt nb">Manner:</p>
+
+<div class="block nt nb">
+<p class="nt nb">Run down by her own automobile,
+which she was cranking, at First and
+G streets, northwest, Dr. Alma C. Arnold,
+a chiropractic physician, 825 Fifteenth
+street, northwest, was forced
+against the wheel of a passing wagon
+and seriously injured this morning.&mdash;<em>Washington
+Times.</em></p>
+</div>
+
+<p class="noi nt nb">Cause:</p>
+
+<div class="block nt nb">
+<p class="nt nb">Over-balanced by a granite stone
+weighing four tons, the entire cornice
+over the west portico of the new west
+wing of the capitol fell to the ground
+this afternoon, carrying with it Daniel
+Logan, foreman for the Woodbury
+Granite Company.&mdash;<em>Madison Democrat.</em></p>
+</div>
+
+<p class="noi nt nb">Attendant Circumstances:</p>
+
+<div class="block nt">
+<p class="nt nb">With a blast that shook the entire city
+and was believed by many to be an
+earthquake, three boilers in the new<span class="pagenum"><a name="Page_110" id="Page_110">[110]</a></span>
+engine house of the Pabst brewery on
+Tenth street, between Chestnut street
+and Cold Spring avenue, exploded at
+about 4 o'clock this morning.&mdash;<em>Milwaukee
+Free Press.</em></p>
+</div>
+
+<p><b>2. Robberies.</b>&mdash;Another large class of news
+stories is concerned with robberies of various kinds.
+Unfortunately for the reporter, very few robberies
+are alike; beyond the common ground of the interest
+in the amount stolen and the cleverness of the robber's
+work, there is seldom any one thing that may
+be looked for as the feature of a robbery story. The
+reporter must decide what in the story makes it
+worth printing.</p>
+
+<p>Robbery stories may include anything from petty
+thievery to bank defaulting. Some of the possibilities
+are horse and automobile stealing, burglary,
+hold-ups, train and street-car robbery, embezzlement,
+fraud, kidnapping, safe-cracking, shop and bank robbery.
+It is well for the reporter who has to cover
+a story of this class to acquaint himself with the
+distinctions that characterize the various kinds of
+robbery and the various names applied to the people
+who commit this sort of crime: e.g., robber, thief,
+bandit, burglar, hold-up man, thug, embezzler, defaulter,
+safe-cracker, pick-pocket.</p>
+
+<p>In general the chief interest in robbery stories is<span class="pagenum"><a name="Page_111" id="Page_111">[111]</a></span>
+in the result of the work&mdash;the amount taken&mdash;usually
+accompanied by a term to designate the sort of
+robbery. Just how the crime was committed is often
+the feature, as in a train robbery or a clever case of
+fraud. If the victim or victims are at all well known
+their names may become the most interesting thing
+in the story&mdash;or even the name of a well-known
+criminal or band of robbers. In some stories, especially
+if another paper has already covered the story,
+the pursuit or capture of the criminals is often interesting;
+the stories of bank robberies often begin in
+this way. Other attendant circumstances, such as
+the number of persons who witnessed the crime, may
+be the feature. In hold-ups, burglaries, and crimes
+of that sort, the death or wounding of the victim is
+often played up. Sometimes the reason for the
+crime, as in a kidnapping case, is of great significance.
+In the case of a robbery of a bank or any
+other institution which depends upon credit for
+its business, the story usually begins with, or
+at least mentions near the beginning, the present
+condition of the robbed institution. It is safe
+to say that in no case is the name of the criminal,
+the manner of his arrest (if it is not unusual),
+the police station to which he was taken, or the
+charge preferred against him worth a place in the
+lead.</p>
+
+<p><span class="pagenum"><a name="Page_112" id="Page_112">[112]</a></span>
+Some robbery stories from the daily press:</p>
+
+<p class="noi nb">Amount taken:</p>
+
+<div class="block nt nb">
+<p class="nt nb">Furs worth $40,000 were stolen in the
+early hours of yesterday morning within
+a stone's throw of Madison Square.
+Apparently a gang in which there was
+a woman expert in choosing only the
+best furs carried off the costly skins, etc.&mdash;<em>New
+York World.</em></p>
+</div>
+
+<p class="noi nt nb">Manner of hold-up:</p>
+
+<div class="block nt nb">
+<p class="nt nb">Seized by thugs in broad daylight as
+he was crossing the railroad tracks at
+the foot of First avenue east, Fred
+Butzer, a stonemason of Butler, Minn.,
+was thrown to the ground, a gag placed
+in his mouth, his pockets were rifled of
+$36.&mdash;<em>Duluth News-Tribune.</em></p>
+</div>
+
+<p class="noi nt nb">Unusual sort of pickpocket:</p>
+
+<div class="block nt nb">
+<p class="nt nb">A young man in evening dress, who
+was going down into the subway station
+at Times Square with the theater crowd
+that filled the entrance just outside of
+the Hotel Knickerbocker early last
+night, paused, knocked a woman under
+the chin and took away her silver chatelaine
+purse containing $20 as deftly as
+he might have flicked the ash off his
+cigarette. Then he disappeared.&mdash;<em>New
+York Times.</em></p>
+</div>
+
+<p class="noi nt nb">Unusual thieves:</p>
+
+<div class="block nt nb">
+<p class="nt nb">Two girl thieves not more than
+twelve years old and small in stature
+for their age have been operating with
+great success in the different stores in
+the neighborhood of Amsterdam avenue
+and Seventy-ninth street. Five or
+six thefts, etc.&mdash;<em>New York Telegram.</em></p>
+</div>
+
+<p class="noi nt nb"><span class="pagenum"><a name="Page_113" id="Page_113">[113]</a></span>
+Pursuit and capture:</p>
+
+<div class="block nt nb">
+<p class="nt nb">After a chase along Forty-second
+street and up the steps of the Hotel
+Manhattan, a woman, who said she was
+Sadie Brown, thirty-three years old, of
+No. 215 West Forty-sixth street, was arrested
+early today on suspicion of having
+picked the pocket of a man at, etc.&mdash;<em>New
+York Telegram.</em></p>
+</div>
+
+<p class="hang nt nb">Present conditions of robbed bank (second paragraph
+of an embezzlement story):</p>
+
+<div class="block nt nb">
+<p class="nt nb">Banking Commissioner Watkins this
+afternoon declared that he found the
+bank perfectly sound, that all commercial
+paper was found intact, that none
+of the accounts have been juggled and
+that no erasures of any kind were discovered.&mdash;<em>Philadelphia
+Inquirer.</em></p>
+</div>
+
+<p class="noi nt nb">Unusual sort of burglar:</p>
+
+<div class="block nt">
+<p class="nt nb">Wearing a Salvation Army uniform,
+a burglar was caught early yesterday in
+the home of Walter Katte, a vice-president
+of the New York Central railroad,
+at Irvington-on-the-Hudson.&mdash;<em>New
+York World.</em></p>
+</div>
+
+<p><b>3. Murder.</b>&mdash;The reports of crimes of this sort can
+hardly be classified, for there are so many things
+that may be worth featuring in any murder case.
+The story itself is usually of such importance that
+the mere fact that a murder has been committed
+gives it news value even if there is nothing unusual
+in the crime&mdash;just as in the case of a featureless fire
+story that begins with "Fire." The handling of a<span class="pagenum"><a name="Page_114" id="Page_114">[114]</a></span>
+crime depends upon the character and circumstances;
+the reporter must weigh the facts in each case for
+himself. However, we usually find a feature in the
+number of persons murdered, the manner in which
+the crime was committed, the name of the victim, if
+he or she is well known, the reason for the deed, or
+in some of the many attendant circumstances, such as
+arrest, pursuit, etc. One rule must always be followed
+in the reporting of a murder story: the reporter
+must confine himself to the necessary facts
+and omit as many of the gruesome details as possible.
+He must tell it in a cold, hard-hearted way
+without elaboration, for the story in itself is gruesome
+enough. Just as soon as a murder story begins
+to expand upon shocking details it becomes the
+worst sort of a yellow story.</p>
+
+<p>Examples of murder stories from the newspapers:</p>
+
+<p class="noi nb">Manner:</p>
+
+<div class="block nt nb">
+<p class="nt nb">After crushing in the head of his superior
+officer with an axe, James Layton,
+boatswain of the Liverpool sailing
+ship Colony, refused to submit to arrest,
+and, still waving the bloody weapon,
+committed suicide by jumping into the
+sea.&mdash;<em>New York Mail.</em></p>
+</div>
+
+<p class="noi nt nb">Motive:</p>
+
+<div class="block nt nb">
+<p class="nt nb">In revenge for a beating he received
+the day before, Gaetona Ambrifi yesterday
+shot and instantly killed Frank Ricciliano,
+a sub-section foreman on the<span class="pagenum"><a name="Page_115" id="Page_115">[115]</a></span>
+Pennsylvania Railroad, while they were
+working on the roadbed near Peddle
+street, Newark.&mdash;<em>New York Sun.</em></p>
+</div>
+
+<p class="noi nt nb">Prominent name:</p>
+
+<div class="block nt nb">
+<p class="nt nb">Mayor William J. Gaynor of New
+York City was shot and seriously, perhaps
+fatally, wounded on board the
+steamer Kaiser Wilhelm der Grosse at
+9:30 as he was sailing for Europe.</p>
+</div>
+
+<p class="noi nt nb">Resulting pursuit:</p>
+
+<div class="block nt nb">
+<p class="nt nb">The police of Brooklyn have another
+murder mystery to unravel through the
+finding early today of the body of
+Peter Barilla on Lincoln road, near
+Nostrand avenue, Flatbush. There were
+two bullet wounds in the body and four
+stab wounds in the back.&mdash;<em>Brooklyn
+Eagle.</em></p>
+</div>
+
+<p class="noi nt nb">Attendant circumstances:</p>
+
+<div class="block nt">
+<p class="nt nb">A hundred or more persons who were
+about to take trains witnessed the shooting
+to death of a Jersey City business
+man in the Pennsylvania Railroad station
+there this afternoon.&mdash;<em>New York
+Mail.</em></p>
+</div>
+
+<p><b>4. Suicide.</b>&mdash;What is true of murder stories is also
+true of suicide. Each individual case has an unusual
+feature of its own. We ordinarily find a good beginning
+in the manner of the suicide, the name of
+the person who has killed himself if he is well known,
+the reason for the act, or some one of the attendant
+circumstances&mdash;often the manner of resuscitation if
+the crime is unsuccessful. For some unexplained<span class="pagenum"><a name="Page_116" id="Page_116">[116]</a></span>
+reason many papers do not print accounts of ordinary
+suicides, except when the individual is prominent.
+At any rate the story must be told without
+gruesome details and as briefly as possible.</p>
+
+<p>Examples from the press:</p>
+
+<p class="noi nt nb">Name:</p>
+
+<div class="block nt nb">
+<p class="nt nb">William L. Murray of Rockview avenue,
+North Plainfield, paying teller of
+the Empire Trust Company of New
+York, committed suicide at Scotch
+Plains early this afternoon by shooting
+himself in the head. No reason is assigned
+for the act.&mdash;<em>New York Sun.</em></p>
+</div>
+
+<p class="noi nt nb">Motive:</p>
+
+<div class="block nt">
+<p class="nt nb">Driven insane by continued brooding
+over ill health, Miss Ada Emerson, a
+former teacher in the Beloit city schools,
+killed herself in a crowded interurban
+car Saturday afternoon by slashing her
+throat with a razor.&mdash;<em>Beloit Free Press.</em></p>
+</div>
+
+<p class="noi">Here the manner is the feature, but it is not played
+up in the first line because it is too horrible.</p>
+
+<p><b>5. Big Stories.</b>&mdash;The big stories of catastrophes
+are usually handled on a large scale&mdash;played up, as
+the newspaper men say. The story in itself is of
+sufficient importance to make it unnecessary to play
+up any single feature of the story. However, the
+reporter, in looking for a good beginning, often
+finds it in the most startling fact in the story. If
+he is reporting a riot he usually begins with the<span class="pagenum"><a name="Page_117" id="Page_117">[117]</a></span>
+number of killed or injured, the amount of property
+destroyed, the character of the riot, or the cause, as
+in this example:</p>
+
+<div class="block">
+<p class="nt nb">In an effort to bring about the reinstatement
+of one of their number who
+had been discharged for non-unionism,
+a hundred or more journeymen bakers
+wrecked the bakeshop of Pincus Jacobs,
+at No. 1571 Lexington avenue, early
+this morning.&mdash;<em>New York Evening Post.</em></p>
+</div>
+
+<p>In the case of a storm the human life element is
+of greatest importance, then the damage to property,
+and last, the peculiar circumstances. For example:</p>
+
+<div class="block">
+<p class="nt nb">CLEVELAND, Dec. 11.&mdash;Fifty-nine
+lives were the cost of a storm which
+passed over Lake Erie Wednesday night
+and Thursday, and more than $1,000,000
+worth of vessel property was destroyed.&mdash;<em>New
+York Evening Post.</em></p>
+</div>
+
+<p>If the story is concerned with a flood the human-life
+element is first, then the damage, the cause, the
+freaks of the flood, or the present situation. For
+example:</p>
+
+<div class="block">
+<p class="nt nb">PARKERSBURG, W. Va., March 10.&mdash;Three
+persons are known to have perished
+in a flood which swept down upon
+the city on Friday when two water<span class="pagenum"><a name="Page_118" id="Page_118">[118]</a></span>
+reservoirs on Prospect Hill burst without
+warning. Forty houses were destroyed
+and many persons are missing.
+The property damage will be nearly
+$500,000.</p>
+</div>
+
+<p><b>6. Police Court News.</b>&mdash;The ordinary run of police
+court news is in a class by itself. Usually the only
+news value in the story depends upon some unusual
+incident or circumstance that attracts the attention
+of the reporter. This is of course the source of
+many of the stories of crime, mentioned before, but
+many stories turn up at the police courts which are
+not concerned with crime, although in some cases
+they are concerned with criminals. In this field of
+reporting there are many opportunities for the human-interest
+story which will be taken up in a later
+chapter. When the incident is reported in an ordinary
+news story the feature is usually in some attendant
+circumstance and the story might well be
+classed with one of the above groups. Here are two
+examples from the daily press:</p>
+
+<div class="block">
+<p class="nt nb">Because he did not have sufficient
+money to buy flowers for his sweetheart,
+Henry Trupke, aged 21 years, forged
+a check for $22.50 on a grocer, J. Sieberlich,
+781 Third street, and after a
+week's chase was caught last night as
+he got off a Wisconsin Central train.&mdash;<em>Milwaukee
+Sentinel.</em></p>
+</div>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_119" id="Page_119">[119]</a></span>
+But a few hours before receiving a
+sentence of two years in the house of
+correction for stealing furs from the
+store of Lohse Bros., 117 Wisconsin
+street, John Garner, self-confessed thief,
+was married to Rose Strean, one of the
+witnesses in the case, which was tried
+yesterday in the municipal court.&mdash;<em>Milwaukee
+Free Press.</em></p>
+</div>
+
+<p><b>7. Reports of Meetings, Conferences, Decisions, etc.</b>&mdash;This
+group includes all reports of meetings, or
+conferences, of bodies of any sort, political or otherwise,
+reports of judicial or legislative hearings or
+decisions, or announcements of resolutions passed.
+Such as:</p>
+
+<div class="block">
+<p class="nt nb">WASHINGTON, Jan. 15.&mdash;Acquisition
+of the telegraph lines by the government
+and their operation as a part
+of the postal system is the latest idea
+of Postmaster General Hitchcock. Announcement
+was made today that a resolution
+to this effect will be offered to
+Congress at the present session.&mdash;<em>Wisconsin
+State Journal.</em></p>
+</div>
+
+<p>There is always one thing in these stories that
+gives them news value&mdash;the purpose or result of the
+conference, hearing, or announcement. This purpose
+or result, of course, must be played up. The
+one point that the reporter should remember is that<span class="pagenum"><a name="Page_120" id="Page_120">[120]</a></span>
+a well-written lead begins with the result or purpose
+of the meeting or announcement rather than with
+the name of the meeting or the name of the body
+that makes the announcement. Never begin a story
+thus: "At a meeting of the Press Club held in the
+Auditorium last night it was resolved that&mdash;&mdash;"
+Transpose the sentence and begin with a statement
+of what was resolved. In the following story the
+order is wrong:</p>
+
+<div class="block">
+<p class="nt nb">The Supreme Court of the United
+States, through the opinion delivered by
+Justice Vandevanter, today declared constitutional
+the employers' liability law
+of 1908.</p>
+</div>
+
+<p>The import of the decision is buried; it should
+be written thus:</p>
+
+<div class="block">
+<p class="nt nb">The employers' liability law of 1908
+was today declared constitutional by the
+Supreme Court of the United States.
+Justice Vandevanter delivered the opinion
+of the court, made in four cases.</p>
+</div>
+
+<p class="noi">In these stories, as in all other news stories, the lead
+must begin with the fact or statement that gives the
+story news value. Burying this fact or statement
+behind two or three lines of explanation spoils the
+effectiveness of the lead. A student of journalism<span class="pagenum"><a name="Page_121" id="Page_121">[121]</a></span>
+may gain very good practice in the writing of news
+stories by looking over the leads that appear in
+the daily papers and transposing those leads which
+bury their news behind explanations. The first
+line of type in a lead is like a shop's show window
+and it must not be used for the display of packing
+cases.</p>
+
+<p><b>8. Stories on Other Printed Matter.</b>&mdash;A large part
+of a newspaper's space, especially in smaller cities, is
+devoted to stories based on printed bulletins, announcements,
+city directories, legislative bills, and
+published reports of various kinds. Sometimes a
+news story is written upon a pamphlet that was
+issued for advertising purposes&mdash;because there is
+some news in it. In all of these stories the reporter
+must look through the pamphlet to find something of
+news value or something that has a significant relation
+to other news. Smaller papers often print
+stories on the new city directory; the increase or decrease
+in population is treated as news and a very
+interesting story may be written on a comparison
+of the names in the directory. In university towns
+the appearance of a new university catalog or bulletin
+of any sort is the occasion for a story which
+points out the new features or compares the new bulletin
+with a previous one. Reporters and correspondents
+in political centers, like state capitals, get<span class="pagenum"><a name="Page_122" id="Page_122">[122]</a></span>
+out stories on committee and legislative reports and
+on new bills that are proposed or passed by the legislature.
+The writing of these stories is very much
+like the reporting of a speech, which will be discussed
+later. The newest or most interesting feature
+in the report or bill is played up in the lead as the
+feature of the story, followed by the source of the
+story, the printed bulletin upon which the story is
+based; thus:</p>
+
+<div class="block">
+<p class="nt nb">A new plan for placing the control of
+all water power in the state in the hands
+of the legislature was proposed in the
+minority report of Senators J. B. Smith
+and L. C. Blake, of the special legislative
+committee on drainage, issued today.</p>
+</div>
+
+<p>These eight classes of news stories do not include
+all the news stories that a newspaper prints, but they
+are in a way typical of all the others that are not
+mentioned. It will be noted from these that all
+news stories, just like the fire story, are usually written
+in about the same way. Each one has a lead
+which begins with the feature of the story&mdash;i.e., the
+fact or incident in the story which gives it news
+value and makes it of interest&mdash;and concludes by
+answering the reader's questions, when, where, who,
+how, why, concerning the feature. Each story begins<span class="pagenum"><a name="Page_123" id="Page_123">[123]</a></span>
+again after the lead, and in one or more paragraphs
+explains, describes, or narrates the incident
+in detail and in logical order. This body of the
+story which follows the lead, while following in
+general the logical order, is so written that its most
+interesting facts are near the beginning and its interest
+dwindles away toward the end. This is to
+enable the editor in making up his paper, to take
+away from the end of any story, as we have seen
+before, a paragraph or more without spoiling the
+story's continuity or depriving it of any of its essential
+facts. The form of the conventional fire story
+may be used as a model in the writing of any news
+story.</p>
+
+<p>In writing the body of a story to explain, describe,
+or narrate the incident mentioned in the lead, every
+effort should be directed toward clearness. This is
+particularly true of stories which are in the main
+narrations of action. The number of facts that may
+be included must depend upon the length of the
+story; if all of the facts cannot be included without
+overburdening the story, cut out some of the details
+of lesser importance, but treat those that are included
+in a clear readable way. Short sentences are
+always much better in newspaper writing than long
+involved sentences. Pronouns should always be
+used in such a way that there can be no doubt in<span class="pagenum"><a name="Page_124" id="Page_124">[124]</a></span>
+regard to their antecedents. If a relative clause or
+participial expression sounds awkward make a separate
+sentence of it. In other words, be simple, concise,
+and clear&mdash;that is better in a newspaper than
+much fine writing.</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_125" id="Page_125">[125]</a></span>
+<a name="ix" id="ix"></a>IX<br />
+<br />
+<small>FOLLOW-UP AND REWRITE STORIES</small></h2>
+
+
+<p>The terms "rewrite story" and "follow-up, or follow,
+story," are names which newspaper men apply
+to the rehashed or revised versions of other news
+stories. A large newspaper office employs one or
+more rewrite men who spend their entire time rewriting
+stories. To be sure, a part of their work
+consists of rewriting, or simply recasting, poorly
+written copy prepared by the reporters. But the
+major part of their work, the part that interests us,
+involves something more than that. It involves the
+rejuvenation of stories that have been printed in a
+previous edition or in another paper, with the purpose
+of bringing the news up to the present moment.</p>
+
+<p>News ages very rapidly. What may be news for
+one edition is no longer news when another edition
+goes to press an hour later. A feature that may be
+worth playing up in a morning paper would not have
+the same news value in an evening paper of the
+same day. The news grows stale so quickly because
+new things are continually happening and new developments<span class="pagenum"><a name="Page_126" id="Page_126">[126]</a></span>
+are continually changing the aspect of
+previous stories. If a story has been run through
+two or three editions and new developments have
+changed it, the story is turned over to a rewrite man
+for consequent alteration. A story in a morning
+paper is no longer news for an evening paper of the
+same date, but a clever rewrite man, with or without
+new developments added to the story, can recast it
+so that it will appear to contain more recent news
+than the original story. The story of an arrest in
+a morning paper begins with the particulars of the
+arrest; but when the evening paper's rewrite man
+has rearranged it for his paper it has become the
+story of the trial or the police court hearing which
+followed the arrest. Perhaps the evening paper
+sends a man to get the later developments in the
+case, but every rewrite man knows the steps that
+always follow an arrest and he can rewrite the original
+story without additional information. His
+account of the later developments is called either a
+rewrite or a follow-up story, depending upon the
+method employed. The same fundamental idea of
+rejuvenating the former story governs the preparation
+of both the rewrite and the follow-up story, but
+while the rewrite story contains no additional news,
+the follow-up presents later facts in addition to the
+old news.<span class="pagenum"><a name="Page_127" id="Page_127">[127]</a></span></p>
+
+<p><b>1. The Rewrite Story.</b>&mdash;The rewrite story is primarily
+a rehashing of a previous news story without
+additional facts. It attempts to give a new twist to
+old facts in order to bring them nearer to the present
+time. Without the aid of later facts the rewrite man
+can only select a new feature and revise the old facts.
+For example, suppose that a $100,000 grain elevator
+burns during the night. The fire would make a big
+story in a city of moderate size and the papers next
+morning would treat it at length. If no one were
+killed or injured the story would probably begin
+with a simple announcement of the fire in a lead of
+this kind:</p>
+
+<div class="block">
+<p class="nt nb">Fire destroyed the grain elevator of
+the H. P. Jones Produce Company,
+First and Water streets, and $50,000
+worth of wheat at 2 o'clock this morning.
+The total loss is estimated at
+$150,000.</p>
+</div>
+
+<p class="noi">Then the reporter would describe the fire at length,
+including all obtainable facts. By afternoon almost
+every one in the city has read the story&mdash;and yet the
+afternoon papers must print something about the big
+fire. If no new facts can be obtained the previous
+story must be rehashed and presented with a new
+feature that will make it appear to be a later story.
+It is useless to begin the evening story with a mere<span class="pagenum"><a name="Page_128" id="Page_128">[128]</a></span>
+announcement of the fire, for that is no longer news,
+and the rewrite man must find a new beginning to
+attract the attention of his readers. Perhaps in
+looking over the morning story, he finds that the
+fire was the result of spontaneous combustion in the
+grain stored in the elevator. In the morning story
+this fact was rather insignificant in the face of the
+huge loss, and most readers passed over it hastily.
+The rewrite man, however, who has no later facts at
+his command, may seize it as a new feature. Instead
+of beginning his story with the fact of the fire, which
+is already known, he begins with the cause, which
+appears to be later news. His lead may be as follows:</p>
+
+<div class="block">
+<p class="nt nb">Spontaneous combustion in the wheat
+bins of the H. P. Jones Produce Company's
+elevator, First and Water streets,
+started the fire which destroyed the
+entire structure with a loss of $150,000
+this morning.</p>
+</div>
+
+<p class="noi">Or if the rewrite man is not so fortunate as to discover
+a new feature as good as this, he may have to
+resort to beginning with a picture of the present results
+of the fire&mdash;thus:</p>
+
+<div class="block">
+<p class="nt nb">Smouldering ruins and a tangled mass
+of steel beams are all that remain of
+the H. P. Jones Produce Company's<span class="pagenum"><a name="Page_129" id="Page_129">[129]</a></span>
+$100,000 grain elevator, First and Water
+streets, which was destroyed by fire
+this morning.</p>
+</div>
+
+<p>It will be noticed that, while these new rewrite
+leads begin with a new feature, each new lead contains
+all the facts presented in the previous lead and
+is told with an eye to the man who has not read the
+earlier account. After the lead the rewrite man
+retells the whole story for the benefit of readers who
+did not see the morning papers and rearranges the
+facts so that they appear new to those who read the
+previous stories. Facts which the other papers buried
+he unearths and displays; details which appear
+to be later developments he crowds to the beginning.
+The whole story is sorted and rewritten in a new
+order and with a new emphasis. The result is a
+rewrite story which appears to be later, although it
+contains no new facts at all. It is seldom, of course,
+that such a rewrite story is used for local news, for
+very rarely is it impossible for a later paper to discover
+new facts. But in the case of news from the
+outside world, from other cities, the simple method
+of rehashing old facts must often be resorted to. If
+the story is based upon a single dispatch announcing
+an earthquake in Hawaii or a shipwreck in mid-ocean,
+many rewrite stories must be printed on the
+same facts before another message brings later news<span class="pagenum"><a name="Page_130" id="Page_130">[130]</a></span>
+and additional details. An example of this is the
+treatment of the first few stories of the wreck of
+the White Star liner <em>Titanic</em>. The story was a big
+one, but the first dispatches were very meager and
+many rehashings of these few facts had to be printed
+before later and more definite news could be obtained.</p>
+
+<p>The simple rewriting of an old story ordinarily
+involves a condensation of the facts. If a morning
+paper printed two thousand words on the grain
+elevator fire above, an afternoon paper of the same
+day would hardly treat the story at such length.
+For the story is no longer big news. If a story has
+run through the first editions of a morning paper it
+would be cut down, as well as rehashed, in the later
+editions of the same paper. The story of the fire
+loses its initial burst of interest after the first printing,
+and only the essential facts and the facts
+that can be rejuvenated can be reprinted.
+The 2,000-word version in the morning paper may
+be worth only five hundred words or less four hours
+later.</p>
+
+<p><b>2. The Follow-up Story.</b>&mdash;If new facts are added to
+a story between editions the new version is no longer
+a simple rewrite story. It becomes a follow-up
+story, for it follows up the subsequent developments
+in the previous story and corresponds to the second<span class="pagenum"><a name="Page_131" id="Page_131">[131]</a></span>
+or succeeding installments of a serial novel in which
+each installment begins with a synopsis of previous
+chapters. For example, if, in the grain elevator fire
+story, the body of a watchman were found in the
+ruins after the morning papers have gone to press,
+the story would immediately have a different news
+value for the evening papers. The story of the big
+fire is old, but the discovery of the body is new.
+Hence the rewrite man would begin with the later
+development&mdash;perhaps thus:</p>
+
+<div class="block">
+<p class="nt nb">The body of a watchman was found
+this afternoon in the ruins of the H. P.
+Jones Produce elevator, which burned
+to the ground this morning with a loss
+of $150,000.</p>
+</div>
+
+<p class="noi">The new story, while retelling the principal facts in
+the previous account, would give prominence to the
+latest news, the discovery of the body. As an example
+from a newspaper, let us take the follow-up
+of a murder mystery. The first stories on this murder
+simply said that a grocer had been found dead
+in the cellar of his store and murder had been suggested.
+The follow-up on the next day (printed
+here) deals with a new development&mdash;has a new
+feature&mdash;and carries the story one step further in
+the attempt to unravel the mystery:<span class="pagenum"><a name="Page_132" id="Page_132">[132]</a></span></p>
+
+<div class="block">
+<p class="nt nb">Developments yesterday in the story
+of the killing of James White, the Park
+street grocer, tended to support the contention
+of Coroner Donalds and the police
+that White was not murdered, but
+died by his own hand.</p>
+</div>
+
+<p><b>3. Analysis.</b>&mdash;So far we have treated the rewrite
+story and the follow-up story separately, but
+for the purposes of analysis and study they may
+be treated together, because the same fundamental
+idea governs both. Dissection of the follow-up
+story will also show us what the rewrite story is
+made of.</p>
+
+<p>From the above clippings it will be seen that the
+lead of the follow-up story is very much like that
+of any news story. The lead has its feature in the
+first line and answers the reader's questions concerning
+that feature. It is simply a new story written on
+an old subject which has been given a new feature
+to make it appear new. Furthermore, it will be noticed
+that the lead of the follow-up story is complete
+in itself, without the original story that preceded
+it. Although the whole idea of the follow
+story is based on the supposition that all readers
+have read every edition of the paper and are therefore
+acquainted with the original story, yet for the
+benefit of those readers who have not read the previous
+story, the follow-up must be complete and<span class="pagenum"><a name="Page_133" id="Page_133">[133]</a></span>
+clear in itself. New facts are introduced into the
+follow story, but its lead tells the main facts of the
+original story so that no reader will be at loss to
+understand what it is all about&mdash;in other words, it
+gives a synopsis of previous chapters. In many follow-up
+stories the new developments are supplemented
+by an entire retelling of the original story.
+This is especially true when one paper is rewriting a
+story which broke too late for its preceding edition
+and was covered by a rival paper. At any rate,
+every follow-up story, like every other news story,
+must be so constructed as to stand by itself without
+previous explanation.</p>
+
+<div class="block">
+<p class="nt nb">Of the 142 bodies of victims of the
+Triangle Waist Company's fire on Saturday,
+that had been taken to the
+morgue up to noon yesterday when it
+was decided that all the dead had been
+recovered, all but 45 had been identified
+today.</p>
+</div>
+
+<p>This is a follow-up of a story two days before.
+Every reader of the paper probably knew everything
+that had been printed previously about the fire, and
+yet this lead very carefully recalls the fire to the
+reader's mind. Later in the story the principal facts
+of the original story are retold as if they were new
+and unknown.<span class="pagenum"><a name="Page_134" id="Page_134">[134]</a></span></p>
+
+<p>It is interesting to see what in any given newspaper
+story can be followed up for a later story.
+The would-be reporter may get good practice in
+writing follow-up stories from the mere attempt to
+study out the next step in any given new story.
+With this next step as his feature he may try to
+write a follow-up story without additional information,
+and then compare it with other follow-up
+stories. For every news story contains within it
+clues to what may be expected to follow.</p>
+
+<p>When any serious fire occurs certain additional
+facts may always be expected to follow. The finding
+of more dead, the unravelling of a mysterious
+origin, the re-statement of the loss, and the present
+condition of the injured are some of the possibilities
+that a rewrite man considers when he tries to
+prepare a follow-up story on a fire. The Washington
+Place fire in New York on March 25, 1911, furnished
+admirable material for the study of the rewriting
+of fire stories. The fire occurred on Saturday
+afternoon too late for anything but the Sunday
+editions. The original story as it appeared in the
+Sunday papers and the Monday issues, of papers
+which had no Sunday editions, began like this:</p>
+
+<div class="block">
+<p class="nt nb">One hundred and forty-one persons
+are dead as a result of a fire which on
+Saturday afternoon swept the three upper<span class="pagenum"><a name="Page_135" id="Page_135">[135]</a></span>
+floors of the factory loft building
+at the northwest corner of Washington
+place and Greene street. More than
+three-quarters of this number are women
+and girls, who were employed in
+the Triangle Shirt Waist factory, where
+the fire originated.&mdash;<em>Boston Transcript,
+Monday.</em></p>
+</div>
+
+<p>The Monday stories on the fire followed up various
+phases as shown in the following. Each one
+while indicating that the story was a follow-up retold
+the principal incidents in the fire.</p>
+
+<div class="block">
+<p class="nt nb">The death list in the Washington
+place and Greene street fire was swelled
+today to 145, a majority of the victims
+being young girls.&mdash;<em>Monday morning&mdash;second
+story.</em></p>
+</div>
+
+<div class="block nt">
+<p class="nt nb">At dawn today it was estimated that
+25,000 persons had visited the temporary
+morgue on the covered pier at the foot
+of East Twenty-sixth street, set aside
+to receive the bodies of those who perished
+in the Washington place fire on
+Saturday afternoon.&mdash;<em>Monday morning&mdash;second
+story.</em></p>
+</div>
+
+<div class="block nt">
+<p class="nt nb">The horror of the fire in the ten-story
+loft building at Washington place
+and Greene street late Saturday afternoon,
+with its heavy toll of human lives,
+grows blacker each succeeding hour.&mdash;<em>Monday
+afternoon.</em></p>
+</div><p><span class="pagenum"><a name="Page_136" id="Page_136">[136]</a></span></p>
+
+<div class="block nt">
+<p class="nt nb">Of the 142 bodies in the morgue as a
+result of the Triangle Shirt Waist factory
+fire, all but fifty had been identified
+this morning.&mdash;<em>Monday afternoon.</em></p>
+</div>
+
+<p>On Tuesday other lines opened up for the rewrite
+man:</p>
+
+<div class="block">
+<p class="nt nb">Sifting down the great mass of testimony
+at their disposal, city and county
+officials hoped today to draw closer to
+the source of responsibility for Saturday's
+factory fire horror in which 142
+persons lost their lives. Investigations
+started yesterday.&mdash;<em>Tuesday afternoon.</em></p>
+</div>
+
+<div class="block nt">
+<p class="nt nb">With all but twenty-eight of the victims
+of the Triangle Shirt Waist factory
+horror identified, District Attorney
+Whitman continues steadily compiling
+evidence. Funerals for scores of victims
+are being held today, while the relief
+fund, etc.&mdash;<em>Tuesday afternoon.</em></p>
+</div>
+
+<div class="block nt">
+<p class="nt nb">Borough President McAneny of Manhattan,
+the district attorney's staff, the
+fire marshal, the coroner and the state
+labor department are bending every energy
+toward fixing the blame for the loss
+of the 142 lives in the, etc.&mdash;<em>Tuesday
+afternoon.</em></p>
+</div>
+
+<div class="block nt">
+<p class="nt nb">Union labor, horrified by the full
+realization that the waste of human life
+in the Triangle Waist factory fire might
+have been saved had existing laws been
+enforced, today arranged for a monster
+demonstration of protest, etc.&mdash;<em>Tuesday
+afternoon.</em></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_137" id="Page_137">[137]</a></span>
+And so the stories ran for many days until newspaper
+readers had lost all interest in the fire. Most
+of the stories were simply retellings of the original
+story with a new bit of information in the lead.
+People were ravenous for more details about the
+fire and the follow stories supplied them until they
+were satisfied. Rarely is a fire worth so many retellings.</p>
+
+<p>A serious accident is often followed up in one or
+more editions. If many people are killed or injured,
+the revised list of dead or the present condition of
+the injured always furnishes material for a follow-up.
+Sometimes the fixing of the blame, as in a railroad
+accident, or other resulting features are used as
+the basis of the rewriting.</p>
+
+<p>In the case of a robbery the commonest material
+for a follow-up story is the resulting pursuit or capture.
+Very often a final report of the loss, the present
+condition of a robbed bank or public institution,
+or perhaps the regaining of the booty, makes a feature
+for a new story. But usually the follow-up is
+concerned with the pursuit, capture, or trial. This
+is especially true if the original story has been told
+by an earlier paper and another later paper wishes
+to print a more up-to-date story on the robbery,
+such as:</p>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_138" id="Page_138">[138]</a></span>
+MINOCQUA, Wis., Oct. 22.&mdash;It now
+begins to look as if the bandits who
+robbed the State Bank of Minocqua
+early Tuesday morning would make
+their escape with the booty. (This is
+followed by a re-telling of the entire
+story of the robbery and an account of
+the pursuit.)</p>
+</div>
+
+<p>The most usual follow-up of a murder story is
+interested in the pursuit, capture, or trial of the perpetrator
+of the deed. For example:</p>
+
+<div class="block">
+<p class="nt nb">Following the discovery of the body
+of Pietro Barilla, an Italian, of Woodhaven,
+Long Island, who was stabbed
+to death by four men, presumably Black
+Hand members, in Lincoln Road, near
+Flatbush, early yesterday morning, the
+police arrested three men yesterday.</p>
+</div>
+
+<p>Very often the present condition of the victim of
+an attempted murder calls for a new story. The
+stories following the attempted murder of Mayor
+Gaynor of New York are good examples of the latter.
+If a mystery surrounds the crime a possible
+solution is grounds for a new story. The stories
+which might follow the unraveling of the mystery
+surrounding the fictitious death of the grocer, mentioned
+at the beginning of this chapter, would be
+second-day murder stories. The original story, let
+us say, was something like this:<span class="pagenum"><a name="Page_139" id="Page_139">[139]</a></span></p>
+
+<div class="block">
+<p class="nt nb">James White, a groceryman, was
+found dying yesterday with a bullet
+wound in his abdomen, in the cellar of
+his grocery store at 1236 Park street.</p>
+</div>
+
+<p class="noi">The next story on the murder would be concerned
+with the unraveling of the mystery, thus:</p>
+
+<div class="block">
+<p class="nt nb">The preliminary inquiry yesterday by
+Coroner John F. Donalds, into the mysterious
+death of James White, the Park
+street grocer, resulted in the conclusion
+that White was murdered.</p>
+</div>
+
+<p class="noi">And so the stories might run on day after day following
+the solution of the case like the succeeding
+chapters of a continued novel, and each one gives
+the synopsis of the preceding chapters in its lead, as
+every good follow-up story should do.</p>
+
+<p>Suicide stories seldom offer material for follow-up
+stories unless there is some mystery surrounding
+the case. Sometimes the present condition of a resuscitated
+victim of attempted suicide or the disposition
+of the estate of a suicide offers material for
+rewriting.</p>
+
+<p>Serious storms and floods are usually followed up
+for several days. Readers are always interested in
+the present condition of the devastated region.
+Very often the list of dead and injured is revised
+from day to day, and any attempt to lend aid to the<span class="pagenum"><a name="Page_140" id="Page_140">[140]</a></span>
+unfortunate victims is always a reason for a later
+story.</p>
+
+<p>Any meetings, conferences, trials, conventions, or
+the like must be followed up day by day with succeeding
+stories. Each story is complete in itself,
+but each one adds one more chapter to the report of
+the meeting. This method of following a continued
+proceeding calls for a series of follow-up stories;
+examples of the stories that follow a continued legal
+trial will be given later under Court Reporting.</p>
+
+<hr class="hr6" />
+
+<p>Many other illustrations might be given of follow-up
+stories that appear daily in the newspapers.
+In the last analysis, the follow-up or the rewrite
+story is nothing more than an ordinary news story,
+and as such must be written in the same way. It
+begins with a lead which plays up a feature and
+answers the reader's questions about the subject;
+the body of the story runs along like the body
+of any news story. But it is different in being
+a later chapter of a previous account; while complete
+in itself, it must not only indicate the previous
+story, but must tell its most important facts for
+readers who may have missed the previous story.
+It is simply a news story which is tied to a previous
+story by a string of cause and effect.</p>
+
+<p><b>4. Following Up Related Subjects.</b>&mdash;In this connection<span class="pagenum"><a name="Page_141" id="Page_141">[141]</a></span>
+it may be well to mention another kind of
+follow-up story that is usually written in connection
+with big news events. It is written to develop and
+follow up side lines of interest growing out of the
+main story. In its most usual form it is a statistical
+summary of events similar to the great event of
+the day&mdash;such as similar fires, similar railroad
+wrecks, etc., in the past. Any big story attracts so
+much attention among newspaper readers that the
+facts at hand are usually not sufficient to supply the
+public's demand for information on the subject. To
+satisfy these demands editors develop lines of interest
+growing out of the main event. They interview
+people concerning the event and concerning
+similar events; they describe similar events that
+have taken place in the past; they summarize and
+compare similar events in the past&mdash;in short, they
+follow up every line of interest opened up by the big
+story and write stories on the result. These stories
+are of the nature of follow-up stories in that they
+grow out of, and develop, the main story in its
+greatest extent.</p>
+
+<p>For example, the wreck of the ocean liner <em>Titanic</em>
+called for innumerable side stories because the public's
+interest demanded more facts than the newspapers
+had at hand to supply. Hence, the papers
+wrote up similar shipwrecks in the past, gathered<span class="pagenum"><a name="Page_142" id="Page_142">[142]</a></span>
+together summaries of the world's greatest shipwrecks,
+interviewed people who had been in any
+way connected with shipwrecks or with any phase
+of this shipwreck, described glaciers and icebergs,
+estimated the depth of the ocean where the <em>Titanic</em>
+sank, described the White Star liner and other liners,
+pictured real or imaginary shipwrecks, and developed
+every other related subject. The real news
+in all this mass of material was very meager, but the
+related stories satisfied the greedy public and helped
+newspaper readers to understand and to picture the
+real significance of the meager news.</p>
+
+<p>In the same way a disastrous fire, like the burning
+of the Iroquois Theater, calls for innumerable
+outgrowing stories. Even when the event reported
+in the main news story is not sufficiently important
+to call for related stories, it is often accompanied
+by a list (usually put in a box at the head of the
+story) of other similar events and their results.
+These follow-up stories of related subjects are, in
+form, very much like feature stories, although they
+usually conform to the follow-up idea of mentioning
+in their leads the main news event to which they are
+related.</p>
+
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_143" id="Page_143">[143]</a></span>
+<a name="x" id="x"></a>X<br />
+<br />
+<small>REPORTS OF SPEECHES</small></h2>
+
+
+<p>Every profession has its disagreeable tasks; journalism
+has perhaps more disagreeable tasks than
+any other profession. All of a reporter's work is
+not concerned with running down thrilling stories
+and writing them up in a whirl of breathless interest.
+Our readers demand other kinds of news, and
+it is the reporter's task to satisfy them faithfully.
+There is probably no phase of the work that is quite
+so irksome as the reporting of speeches, lectures,
+sermons, etc., and there is probably no phase of the
+work about which most reporters have fewer definite
+rules or ideas. Read the reports of the same
+speech in two different papers and note the difference.
+They seldom contain the same things and
+more seldom do they tell what the speaker said, in
+the way and the spirit in which he said it. It is irksome
+work and difficult work to condense an hour's
+talk into three stickfuls, and few reporters know exactly
+how to go about it.</p>
+
+<p><span class="pagenum"><a name="Page_144" id="Page_144">[144]</a></span>
+The report of a speech or a sermon or a lecture
+may come to a newspaper office in one of two ways.
+A copy of it may be sent to the paper or the reporter
+may have to go to hear the address and take notes
+on it. Very often the speaker kindly sends a
+printed or typewritten copy of his speech to the editor
+a few days in advance with the permission to
+release it&mdash;or print it&mdash;on a certain date, after the
+speech has been delivered in public. If the speech
+is to be printed in full, the task is a mere matter of
+editing and does not trouble the reporter. Very
+few speeches receive so much space. The others
+must be condensed and put in shape for printing.</p>
+
+<p>After all, the usual way to get a speech is to go
+to the public delivery of the speech and bring back a
+report of it. At first sight this is a difficult task and
+green reporters come back with a very poor resum&eacute;.
+However, a word or two of advice from the editor
+or some bitter experience eases the way. Some advice
+may be given here to prepare the would-be reporter
+beforehand.</p>
+
+<p>Some reporters who know shorthand prefer to
+make a stenographic report of the entire speech and
+rearrange and condense it in the office. This method
+is advisable only in the case of speeches of the greatest
+importance; it is too laborious for ordinary purposes,
+since the account includes at most only a part<span class="pagenum"><a name="Page_145" id="Page_145">[145]</a></span>
+of the speech. The best way, doubtless, to get a
+speech is to take notes on it. And yet this must be
+done properly or there is a danger of misinterpretation
+of statements or of undue emphasis upon any
+single part of the speech. The report of a speech
+should be as well balanced and logical as the speech
+itself, differing from the original only in length and
+the omission of details. The speech report must be
+accurate and truthful or the speaker may appear at
+the office in a day or two with blood in his eye. A
+few rules may be suggested as an aid to accuracy
+and truthfulness.</p>
+
+<p>In the first place, do not try to get all the speech;
+do not try to get more than a small part of it&mdash;the
+important part. There are two ways of doing this.
+If the speech is well arranged and orderly it is easy
+to tell when the speaker has finished one sub-division
+and is beginning another. Each division and
+subdivision will naturally contain a topic sentence.
+Watch for the topic sentences and get them down
+with the briefest necessary explanation to make
+them clear. Political speeches or impromptu talks
+are, on the other hand, not always so logically arranged.
+Sometimes it is possible to get the topic
+sentences, but more often it is not. Then watch for
+the interesting or striking statements. You will be
+aided in this by the audience about you. Whenever<span class="pagenum"><a name="Page_146" id="Page_146">[146]</a></span>
+the speaker says anything unusually striking or of
+more than ordinary interest the audience will show
+it by signs of assent or dissent. Watch for these
+signs, even for applause&mdash;and take down the statement
+that was the cause. If the statement interested
+the original audience it will interest your readers.
+Naturally, mere oratorical trivialities must not
+be mistaken for striking statements.</p>
+
+<p>When you get back to the office to write up the
+report of the speech you will feel the need of direct
+quotations&mdash;in fact, the length of your report will
+be determined by the number of direct quotations
+that you have to use in it&mdash;as well as by editorial
+dictum. It would be entirely wrong to quote any
+expressions of your own because they are somewhat
+like the speaker's statements, and it is impossible to
+quote anything less than a complete sentence in the
+report of a speech. Hence you will need complete
+sentences taken down verbatim in the exact words
+of the speaker. Make it a point to get complete
+sentences as you listen to the speech. Whenever a
+striking statement or an interesting part of the
+speech seems worth putting in your story get it
+down completely. You will find yourself writing
+most of the time because, while you are writing
+down one important sentence, the speaker will be
+uttering several more in explanation and may say<span class="pagenum"><a name="Page_147" id="Page_147">[147]</a></span>
+something else of interest before you have finished
+writing down his first statement. Strict attention,
+a quick pencil, and a good memory are needed for
+this kind of work, but the reporting of speeches will
+lose its terrors after you have had a very small
+amount of practice.</p>
+
+<p>Just as any news story begins with a lead and
+plays up its most striking fact in the first line, the
+report of a speech usually begins with the speaker's
+most striking or most important statement. As
+you are listening to his words watch for something
+striking for the lead&mdash;something that will catch the
+reader's eye and interest him. But you must exercise
+great care in selecting the statement for the
+lead. Theoretically and practically it must be something
+in strict accordance with the entire content of
+the speech and, if possible, it should be the one statement
+that sums up the whole speech in the most
+concise way. Somewhere in the discourse, at the
+beginning, at the end, or in some emphatic place, the
+speaker will usually sum up his complete ideas on the
+subject in a striking, concise way. Watch for this
+summary and get it down for the lead. However,
+there may be times when this summary, though
+concise, will be of little interest to the average reader
+and you will be forced to use some other striking
+statement. Then it is perfectly permissible to take<span class="pagenum"><a name="Page_148" id="Page_148">[148]</a></span>
+any striking statement in the speech and use it for
+the lead, provided that the statement is directly connected
+with the rest of the discourse. But be fair
+to the speaker. Do not play up some chance remark
+as illustrative of the entire utterance; don't bring in
+an aside as the most interesting thing in his speech.
+If a preacher forgets himself to the extent of expressing
+a chance political opinion, it would obviously
+be unfair to him for you to play up that remark
+as the summary of his sermon. Your readers
+would get a false impression and the preacher would
+be angry. If he considers the chance remark of
+real importance in his sermon he will back it up with
+other statements that will give you an excuse for
+using it. In brief, watch for the most interesting
+and most striking statement in the entire speech, and
+in selecting this statement be fair and just and try to
+avoid giving a false impression of the speaker or
+of the speech. If you follow this rule you will
+never be in any danger of getting your paper into
+difficulties.</p>
+
+<p>Another rule in reporting lectures, speeches, etc.,
+applies to the writing of all newspaper stories.
+Write your report at once while the speech is still
+fresh in your mind. Your report must preserve
+the logic and continuity of the speech&mdash;it must be a
+fair resum&eacute;. Your notes will be at best mere jottings<span class="pagenum"><a name="Page_149" id="Page_149">[149]</a></span>
+of chance sentences here and there. Do not
+allow them to get cold and lose their continuity.
+Write the report at once.</p>
+
+<hr class="hr6" />
+
+<p>The writing of the report of a speech, lecture, or
+sermon is the same whether it is taken from a
+printed or stenographic copy of the discourse or
+from notes. It is perhaps easier to write from your
+notes because you have the important parts of the
+speech picked out, ready for use, by the aid of the
+rest of the audience. Before you can resum&eacute; a
+printed copy of the speech you must go through it
+and pick out the important sentences which you
+wish to quote and decide upon the most striking
+statement for the lead. There is no definite rule
+that can be followed in this except to take the topic
+sentences whenever they are stated with sufficient
+clearness. When you have decided on the statements
+that you wish to quote you have really reduced
+the speech to a form practically identical with
+the notes taken from verbal utterance, and the writing
+in either case is the same.</p>
+
+<p>The lead of the report is very much like the lead
+of any other news story&mdash;for the report of a speech
+is really a news story. As soon as the speech is
+mentioned, the reader unconsciously asks a number
+of questions about it and the reporter must answer<span class="pagenum"><a name="Page_150" id="Page_150">[150]</a></span>
+them in the first sentence. As in any other news
+story the questions are: <em>What?</em> <em>Who?</em> <em>Where?</em>
+<em>When?</em> and perhaps <em>How?</em> and <em>Why?</em> Reduced to
+the case of the speech report, they amount to what
+did he say, who said it, where did he say it, when,
+and perhaps how and why did he say it. You may
+answer the <em>what</em> by giving the subject of the discourse
+or by giving a striking statement in it. In
+every report the answer to some one of the questions
+is of greater interest and must be placed in the
+first line. If the speaker is of more than ordinary
+prominence his name makes a good beginning. If
+an ordinary person makes a speech at some meeting
+of prominence the <em>when</em> or <em>where</em> takes precedence
+over his name. But in most cases the reporter will
+find that none of these things is of sufficient importance
+for the beginning. Most public utterances
+that he will be called upon to report will be made by
+ordinary men in ordinary places and at ordinary
+times, and the most interesting part of the story will
+be what was said. Sometimes it suffices to give the
+title of the speech, but more often a striking statement
+from the speech makes the best beginning.
+However, although the speaker, the time, the place,
+etc., are overshadowed in importance by the subject
+or content of what the speaker says, they must be
+included in the same sentence with the title or striking<span class="pagenum"><a name="Page_151" id="Page_151">[151]</a></span>
+statement. That is, in short, we catch the reader's
+interest with a striking statement from the
+speech and then delay the rest of the report while
+we tell who said it, when, where, etc. The necessity
+of this is obvious.</p>
+
+<p>In accordance with the foregoing there are several
+possible ways in which to begin the lead of the
+report of any speech. It would be wrong to say
+that any one is more common or better than the
+others; the choice of the beginning must rest
+with the reporter. And yet there are various things
+to be noted in connection with each of these beginnings.</p>
+
+<p><b>1. Direct Quotation Beginning.&mdash;Sentence.</b>&mdash;The
+quotation that is to have the first line must of course
+be the most striking or the most interesting statement
+in the speech. If it consists of a single sentence&mdash;and
+it cannot be less than a sentence&mdash;the report
+may begin thus:</p>
+
+<div class="block">
+<p class="nt nb">"Participation in government is not
+only the privilege, but the right, of
+every American citizen and should be
+considered a duty," said the Rev. Frederick
+W. Hamilton, president of Tufts
+College, who spoke on "The Political
+Duties of the American Citizen" at the
+monthly men's neighborhood meeting in
+the Roxbury Neighborhood House last
+night.&mdash;<em>Boston Herald.</em></p>
+</div>
+
+<p class="noi"><span class="pagenum"><a name="Page_152" id="Page_152">[152]</a></span>
+Here the reporter has given us a sentence that is
+practically a summary of the speech, has told us who
+said it, when and where, and has completed the paragraph
+with the title of the speech. Sometimes the
+title of the speech is not of great importance and
+its place in the lead may be given to a little summary
+as in the following:</p>
+
+<div class="block">
+<p class="nt nb">"The modern man isn't afraid of
+hell," was the concise explanation which
+W. Lathrop Meaker gave in Franklin
+Union Hall yesterday afternoon and
+evening of the fact that the churches are
+losing their grip on the average man.&mdash;<em>New
+York Sun.</em></p>
+</div>
+
+<p class="noi">A question which embodies the content of a speech
+may often be quoted at the beginning; thus:</p>
+
+<div class="block">
+<p class="nt nb">"Will the Baptist church continue to
+maintain an attitude of timidity when
+John D. Rockefeller of Standard Oil
+is mentioned?" asked the Rev. R. A.
+Bateman, from East Jaffrey, N. H., of
+the ministers assembled in Ford Hall
+last evening at the New England Baptist
+conference.&mdash;<em>Boston Herald.</em></p>
+</div>
+
+<p class="noi">The opening quotation may sometimes be made an
+excuse for a brief description of the speaker or his
+gestures as in the following. This is good at times<span class="pagenum"><a name="Page_153" id="Page_153">[153]</a></span>
+but it may easily be overworked or become "yellow"
+in tone.</p>
+
+<div class="block">
+<p class="nt nb">"There is no fire escape," remarked
+Gypsy Smith, the famous English evangelist,
+yesterday before the fashionable
+audience of the Fifth Avenue Baptist
+Church. He held aloft a Bible as he
+made this declaration during an eloquent
+sermon on the possibility of losing
+faith and wandering from the narrow
+way.&mdash;<em>New York World.</em></p>
+</div>
+
+<p><b>2. Direct Quotation Beginning.&mdash;Paragraph.</b>&mdash;You
+notice that in each of the foregoing the quoted sentence
+is incorporated grammatically into the first
+sentence of the lead. It is followed by a comma and
+the words "said Mr. &mdash;&mdash;," "was the statement
+of &mdash;&mdash;," "declared Mr. &mdash;&mdash;," etc. This construction
+is possible only when the quoted sentence is
+short and simple. When it is long or complex, it
+is well to paragraph it separately and to put the
+explanations in a separate paragraph, thus:</p>
+
+<div class="block">
+<p class="nt nb">"If the United States had possessed
+in 1898 a single dirigible balloon, even
+of the size of the one now at Fort
+Myer, Virginia, which cost less than
+$10,000, the American army and navy
+would not have long remained in doubt
+of the presence of Cervera's fleet in
+Santiago harbor."</p>
+
+<p class="nt"><span class="pagenum"><a name="Page_154" id="Page_154">[154]</a></span>
+This statement was made today by
+Major G. O. Squier, assistant chief signal
+officer of the army, in an address
+on a&euml;ronautics delivered before the
+American Society of Mechanical Engineers
+at 29 West Thirty-ninth street.&mdash;<em>New
+York Mail.</em></p>
+</div>
+
+<p class="noi">This same construction must <em>always</em> be used when
+the statement quoted in the lead consists of more
+than one sentence, as in the following:</p>
+
+<div class="block">
+<p class="nt nb">"The climate of Wisconsin is as good
+for recovery from tuberculosis as that
+of any state in the union. It is not the
+climate, but the out-of-doors air that
+works the cure."</p>
+
+<p class="nt nb">So said Harvey Dee Brown in his
+tuberculosis crusade lecture in Kilbourn
+park last night.&mdash;<em>Milwaukee Free Press.</em></p>
+</div>
+
+<p class="noi">It is to be noted that the statement quoted in the
+lead is never split into two parts, separated by explanation.
+The quotation is always gathered together
+at the beginning and followed by the explanation.</p>
+
+<p><b>3. Indirect Quotation Beginning.</b>&mdash;This method is
+best adapted to the playing up of a brief resum&eacute; of
+the content of the speech. It is sometimes called
+the "<em>that</em>-clause beginning" because it always begins
+with a <em>that</em>-clause which is the subject of the principal<span class="pagenum"><a name="Page_155" id="Page_155">[155]</a></span>
+verb of the sentence&mdash;"was the statement of,"
+"was the declaration of," etc. The <em>that</em>-clause may
+contain a resum&eacute; of the entire speech or only the
+most striking statement in it. Here is one of the
+latter:</p>
+
+<div class="block">
+<p class="nt nb">That the cruise of the battleship fleet
+around the world has taught the citizens
+of the United States that a powerful
+fleet is needed in the Pacific was the
+statement of Rear Admiral R. C. Hollyday,
+chief of the bureau of yards and
+docks of the navy, at a luncheon given
+to him by the board of trustees of the
+Chamber of Commerce at the Fairmont
+Hotel yesterday.&mdash;<em>San Francisco Examiner.</em></p>
+</div>
+
+<p class="noi">It is not always necessary to use the phrase "was
+the statement of." A variation from it is often
+very good:</p>
+
+<div class="block">
+<p class="nt nb">That it is the urgent mission of the
+white people of America, through their
+churches and Sunday-schools, to educate
+the American negro morally and religiously,
+was the sentiment of the
+twelfth session of the International Sunday-school
+Convention last night, voiced
+with special power and eloquence by Dr.
+Booker T. Washington, the chief
+speaker of the evening.&mdash;<em>Louisville
+Courier-Journal.</em></p>
+</div><p><span class="pagenum"><a name="Page_156" id="Page_156">[156]</a></span></p>
+
+<div class="block">
+<p class="nt nb">That the Irish race has a great destiny
+to fulfill, one greater than it has
+achieved in its glorious past, was the
+prophecy of Prof. Charles Johnston of
+Dublin university in his lecture at the
+city library Sunday afternoon.&mdash;<em>Wisconsin
+State Journal.</em></p>
+</div>
+
+<p class="noi">It is perfectly good usage to begin such a lead
+with two <em>that</em>-clauses or even with three. The two
+clauses in this case are of course treated as a singular
+subject and take a singular verb. It is usually
+best not to have more than three clauses at the beginning
+and even three must be handled with great
+care. Three clauses at the beginning, if at all long,
+bury the speaker's name too deeply and may become
+too complicated. Unless the clauses are very closely
+related in idea, it is usually better not to use more
+than two. Naturally when more than one <em>that</em>-clause
+is used in the lead, all of the clauses must be
+gathered together at the beginning; never should
+one precede and one follow the principal verb. Here
+is an example of good usage:</p>
+
+<div class="block">
+<p class="nt nb">NEW YORK, Feb. 25.&mdash;That America
+is entering upon a new era of civic
+and business rectitude and that this is
+due to the awakening of the moral
+conscience of the whole people was the
+prophecy made here tonight by Governor
+Joseph W. Folk of Missouri.&mdash;<em>Chicago
+Record-Herald.</em></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_157" id="Page_157">[157]</a></span>
+<b>4. Summary Beginning.</b>&mdash;This is a less formal way
+of treating the indirect quotation beginning. It
+is simply a different grammatical construction.
+Whereas in the <em>that</em>-clause beginning the principal
+verb of the sentence is outside the summary (e. g.,
+"That ... was the statement of"), in the
+summary beginning the principal verb of the sentence
+is the verb of the summary and the speaker is
+brought in by means of a modifying phrase; thus:</p>
+
+<div class="block">
+<p class="nt nb">MINNEAPOLIS, Oct. 1.&mdash;Both the
+free trader and the stand-patter are
+back numbers, according to Senator Albert
+J. Beveridge of Indiana, who delivered
+a tariff speech here tonight.&mdash;<em>Milwaukee
+Free Press.</em></p>
+</div>
+
+<div class="block">
+<p class="nt nb">Federal control of the capitalization of
+railroads is the solution of the railroad
+problem suggested by E. L. Phillipp, the
+well-known Milwaukee railroad expert,
+in the course of a speech at the third
+annual banquet of, etc.&mdash;<em>Milwaukee Free
+Press.</em></p>
+</div>
+
+<p class="noi">The summary beginning may be handled in many
+different ways and allows perhaps more grammatical
+liberty than any other beginning. The summary
+may even be given a sentence by itself as in the
+following. This kind of treatment may easily be
+overdone and should be handled with great caution:</p>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_158" id="Page_158">[158]</a></span>
+If you have acute mania, it is the
+proper thing to take the music cure.
+Miss Jessie A. Fowler says so, and she
+knows. Miss Fowler discussed "Music
+Hygienically" before the "Rainy
+Daisies" at the Hotel Astor yesterday
+and prescribed musical treatment for
+various brands of mania.&mdash;<em>New York
+World.</em></p>
+</div>
+
+<p><b>5. Keynote Beginning.</b>&mdash;Very closely related to
+the summary beginning is the keynote beginning, in
+which the subject of the main verb is an indirect
+presentation of the content of the speech. Whereas
+the summary beginning displays its resum&eacute; in a
+complete sentence, the keynote beginning puts the
+content of the speech in a single noun and its modifiers.
+Thus:</p>
+
+<div class="block">
+<p class="nt nb">The ideal state university was the
+theme of a speech delivered by, etc.</p>
+</div>
+
+<div class="block">
+<p class="nt nb">The mission of the newspaper to tell
+the truth, to stand for high ideals, and
+to strive to have those ideals adopted
+by the public was the keynote of an address
+delivered by, etc.</p>
+</div>
+
+<p><b>6. Participial Beginning.</b>&mdash;This is less common
+than the other kinds of indirect quotation beginnings
+but it is often very effective. The summary of the
+speech or the most striking statement is put into a<span class="pagenum"><a name="Page_159" id="Page_159">[159]</a></span>
+participial phrase at the beginning and is made to
+modify the subject of the sentence (the speaker).
+It must of course be remembered that such a participial
+phrase can be used only to modify a noun,
+as an adjective modifies a noun, and can never be
+made the subject of a verb. Here is an example of
+good use of this beginning:</p>
+
+<div class="block">
+<p class="nt nb">Upholding the right of public criticism
+of the courts on the theory that
+there can be no impropriety in investigating
+any act of a public official, Judge
+Kennesaw M. Landis last night addressed
+the students of Marquette College
+of Law and many members of the
+Milwaukee bar.&mdash;<em>Milwaukee Free Press.</em></p>
+</div>
+
+<p class="noi">Just as it is perfectly possible to begin an indirect
+quotation lead with two <em>that</em>-clauses instead of one,
+it is also possible to use two participial phrases in
+the participial beginning; as:</p>
+
+<div class="block">
+<p class="nt nb">Pleading for justice and human affection
+in dealing with the delinquent
+child, and urging the vital need of legislation
+which shall enforce parental
+responsibility, Mrs. Nellie Duncan made
+an address yesterday which stirred the
+sympathies of an attentive audience in
+the First Presbyterian Church.&mdash;<em>San
+Francisco Examiner.</em></p>
+</div><p><span class="pagenum"><a name="Page_160" id="Page_160">[160]</a></span></p>
+
+<p class="noi">Although the participial phrase usually gives the
+summary of the speech, not infrequently the participial
+construction is used to play up the name of
+the speech or some other fact and the summary comes
+after the principal verb of the lead; thus:</p>
+
+<div class="block">
+<p class="nt nb">Paying tribute to the memory of
+President William McKinley last night
+at the Metropolitan Temple, where exercises
+were held to dedicate the McKinley
+memorial organ, Judge Taft told
+in detail of his commission to the Philippine
+service and his subsequent intimate
+connection with the President.&mdash;<em>New
+York Tribune.</em></p>
+</div>
+
+<p><b>7. Title Beginning.</b>&mdash;There are two reasons for beginning
+the report of a public utterance with the
+speaker's subject or title. The title itself may be
+so broad that it makes a good summary of the
+speech, or it may be so striking in itself that it attracts
+interest at once. In the following examples
+the title is really a summary of the speech:</p>
+
+<div class="block">
+<p class="nt nb">NEW YORK, Dec. 15.&mdash;"The Compensation
+of Employes for Injuries Received
+While at Work" was taken by
+J. D. Beck, commissioner of labor of
+Wisconsin, as the theme of his address
+before the National Civic Federation
+here today.&mdash;<em>Milwaukee Free Press.</em></p>
+</div>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_161" id="Page_161">[161]</a></span>
+"The Emmanuel Movement" was the
+subject of an address by Rabbi Stephen
+S. Wise of the Free Synagogue yesterday
+morning.&mdash;<em>New York Evening Post.</em></p>
+</div>
+
+<p class="noi">In the following stories the reporter began with
+the title evidently because it was so strikingly unusual
+and also because it was the title of a strikingly
+unusual speech by an unusual man. This kind of
+title beginning is always very effective:</p>
+
+<div class="block">
+<p class="nt nb">"Booze, or Get on the Water Wagon,"
+was the subject on which Rev. Billy
+Sunday, the baseball evangelist, addressed
+an audience of over 4,000 persons
+at the Midland Chautauqua yesterday
+afternoon. For two hours Sunday
+fired volley after volley at the
+liquor traffic.&mdash;<em>Des Moines Capital.</em></p>
+</div>
+
+<div class="block">
+<p class="nt nb">"If Christ Came to Milwaukee" was
+the subject of the Rev. Paul B. Jenkin's
+Sunday night in Immanuel Presbyterian
+Church.&mdash;<em>Milwaukee Sentinel.</em></p>
+</div>
+
+<p><b>8. Speaker Beginning.</b>&mdash;It is obvious that this is
+the easiest beginning that may be used in the report
+of a speech. But just as obviously it is the beginning
+that should be least used. Just as in writing
+news stories a green reporter always attempts to
+begin every lead with the name of some person involved,
+in reporting a public discourse he has a<span class="pagenum"><a name="Page_162" id="Page_162">[162]</a></span>
+strong desire to put the name of the speaker before
+what the speaker said. But the same tests may be
+applied to both cases. Are our readers more interested
+in what a man does than in the man himself;
+do our readers go to hear a given speaker because
+they wish to hear what he has to say or because
+they wish to hear <em>him</em>? Whenever the public is so
+interested in a man that it does not care what he
+says, then you may feel safe in beginning the report
+of what he says with his name. This test may be
+altered, especially in smaller cities, by previous interest
+in the speech; if the speech has been expected
+and looked forward to with interest, then, no matter
+if the speaker is the President himself, his name
+is not as good news as what he has to say. Even
+if the lead does begin with the speaker's name, the
+reporter usually tries to bring a summary of the
+speech or the most striking statement into the first
+sentence after the name. For example:</p>
+
+<div class="block">
+<p class="nt nb">Speaker Joseph G. Cannon placed
+himself on record last night in favor
+of a revision of the tariff in accordance
+with the promise of the Republican
+party platform and declared that so far
+as his vote was concerned he would see
+to it that the announced policy of revision
+would be written in the national
+laws as soon as possible. The words
+of the speaker came at a luncheon given<span class="pagenum"><a name="Page_163" id="Page_163">[163]</a></span>
+to six rear admirals of the United States
+navy by Alexander H. Revell of Chicago
+in the Union League Club, at which the
+need of more battleships and increased
+efficiency of the fighting forces of the
+republic were the principal themes of
+discussion.</p>
+</div>
+
+<p class="noi">This example was chosen because, while it is written
+in accordance with the rules of the speaker beginning,
+it is obviously too long and complicated&mdash;over
+110 words. It would be better to gather it
+together and condense it as in the following:</p>
+
+<div class="block">
+<p class="nt nb">Chief Forester Gifford Pinchot opened
+the second day's session of the national
+conservation congress yesterday by an
+address in which he expressed his entire
+satisfaction and his confidence in
+the attitude of President Taft toward
+conservating the national resources.&mdash;<em>Milwaukee
+Sentinel.</em></p>
+</div>
+
+<div class="block">
+<p class="nt nb">ST. PAUL, Minn., Feb. 10.&mdash;Booker
+T. Washington of Tuskegee, Ala., in an
+address at the People's Church tonight
+predicted that within two years the
+liquor traffic would be driven out of all
+the southern states but two.&mdash;<em>Milwaukee
+Sentinel.</em></p>
+</div>
+
+<p>There are obviously other beginnings that cannot
+be classed under any of the above heads. Some
+of them, much like the "freak" leads that may be<span class="pagenum"><a name="Page_164" id="Page_164">[164]</a></span>
+seen in many newspapers of the present day, may be
+called free beginnings for want of a better name.
+These free beginnings are quite effective when properly
+handled but the novice must use them with fear
+and trembling. They may be witty or they may be
+sarcastic, but they are usually dangerous. The difference
+in the eight beginnings discussed above is
+mainly one of grammatical construction; the same
+fundamental ideas govern them all. Their purpose
+is always to play up a striking statement or a
+summary of the speech report and to give at the
+very outset the necessary explanation concerning
+the speech.</p>
+
+
+<p class="c2">THE BODY OF THE REPORT</p>
+
+<p>The body of the report of a speech is not so distinct
+from the lead as the body of an ordinary
+news story. In the news story it is safe to assume
+that many readers will not go beyond the lead, but
+in the report of a speech this is not so true. It is
+less possible to give the main facts in the lead of
+a speech report and the rest of the story is more
+necessary. Hence it must be written with as great
+care as the lead.</p>
+
+<p>The body of the report should consist of direct
+quotation in so far as possible. The reader is interested<span class="pagenum"><a name="Page_165" id="Page_165">[165]</a></span>
+in what the speaker said and it is impossible
+to make a summary in indirect discourse as
+convincing as the actual quotation of his words. Be
+sure that the quotations are the speaker's exact
+words or very nearly his exact words, so that he
+cannot accuse you of misquoting him. The spirit
+of his words must be in the quotation, anyway.</p>
+
+<p>In these quotations nothing less than a complete
+sentence should be quoted. Do not patch together
+sentences of indirect and direct quotation, like the
+following&mdash;He said that some of us are prone to
+let things be as they are, "because the philanthropic
+rich help in our times of trouble and in sickness."
+Such quotation is worse than no direct quotation
+at all. Of course, this does not mean that one cannot
+add "said the speaker" to a direct quotation, but
+it means that "said the speaker" can be added only
+to quotations that are complete sentences. Furthermore
+whenever it is necessary to bring in "said the
+speaker," or similar expressions, they should be
+added at the end of the quoted sentence&mdash;the least
+emphatic part of a newspaper sentence.</p>
+
+<p>Obviously a condensed report of a speech can only
+quote sentences here and there throughout the
+speech&mdash;the high spots of interest, as we called
+them before. These must not be quoted promiscuously
+and disconnectedly. The original speech had<span class="pagenum"><a name="Page_166" id="Page_166">[166]</a></span>
+a logical order and set forth a logical train of
+thought. These should be followed as far as possible
+in the report. Bring in the quotations in their
+true order and fill the gaps between them with indirect
+discourse to knit them together and to give
+the report the coherence of the original speech. But
+do not carry this indirect explanation to the extent
+of making your copy a report of the speech in indirect
+discourse with occasional bits of direct quotation
+to illustrate. Remember that, after all, the
+direct quotation is the truly effective part of the
+speech.</p>
+
+<p>Whenever a paragraph contains both direct and
+indirect quotation, the direct quotation should always
+precede the indirect. But it is much better
+to paragraph the two kinds of quotation separately,
+making each paragraph entirely of direct, or entirely
+of indirect, quotation. If a paragraph must contain
+both, begin it with the direct so that as the reader
+glances down the column he will see a quotation
+mark at the beginnings of most, if not all, of the
+paragraphs. By the same sign, when your notes
+are lacking in direct quotations, bring in as many
+of the quotations as possible at the beginning of the
+report and let the indirect summary occupy the end
+where it may be cut off by the editor if he does not
+wish to run it.</p>
+
+<p><span class="pagenum"><a name="Page_167" id="Page_167">[167]</a></span>
+Here is a good illustration of a part of the body
+of a good speech report&mdash;it is the second paragraph
+of one of the stories quoted under the "Speaker"
+beginning above:</p>
+
+<div class="block">
+<p class="nt nb">"I can not account for the moral revolution
+that is sweeping over the South,"
+he continued. "The sentiment against
+whisky is deeper than the mere desire to
+get it away from the black man. That
+same sentiment is found in counties that
+contain no negro population. People
+who say that the law will not be enforced
+have not been in the South.&mdash;B.
+T. Washington's speech, <em>Milwaukee
+Sentinel.</em></p>
+</div>
+
+<p class="noi">You will notice that although the above paragraph
+is composed entirely of direct quotation it has no
+quotation mark at the end. This is, of course, in
+accordance with the old rule of rhetoric which says
+that in a continuous quotation each paragraph shall
+begin with a quotation mark but only the last shall
+be closed by a quotation mark.</p>
+
+<p>To illustrate the errors that may be made in reporting
+speeches we might write the above paragraph
+as follows:</p>
+
+
+<div class="block">
+<p class="nt nb">Mr. Washington continued by saying
+that he could not account for the revolution
+that is sweeping over the South.<span class="pagenum"><a name="Page_168" id="Page_168">[168]</a></span>
+"The sentiment against whisky is deeper
+than the mere desire to get it away from
+the black man." He says that "the same
+sentiment is found in counties that contain
+no negro population." People who
+say that the law will not be enforced
+"have not been in the South," according
+to Booker T. Washington.</p>
+</div>
+
+<p class="noi">The clumsiness of this mingling of direct and indirect
+quotation is very clear, as is the weakness of beginning
+with an explanation that is really subordinate.</p>
+
+<p>Much more could be said about the reporting of
+speeches. Very few things will make a man so
+angry as the misquoting of his words. Therefore,
+whatever other faults your report of a speech may
+have, let it be accurate and truthful.</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_169" id="Page_169">[169]</a></span>
+<a name="xi" id="xi"></a>XI<br />
+<br />
+<small>INTERVIEWS</small></h2>
+
+
+<p>If you compare any interview story with any
+speech report in any representative newspaper, you
+will readily see how a discussion of interviews easily
+becomes an explanation of the differences between
+interview stories and speech-reports; that
+is, how the report of an interview differs from the
+report of a public utterance of a more formal kind.
+There are few differences in the written reports.
+Each usually begins with a summary or a striking
+statement and consists largely of direct quotation.
+Were it not for the line or two of explanation at
+the end of the introduction, it would be practically
+impossible to tell the one from the other, to tell
+which of the reports sets forth statements made in
+a public discourse and which gives statements made
+in a more private way to a reporter.</p>
+
+<p>The difference lies behind the report, in the way
+the reporter obtained the statements and quotations.
+And the whole difference depends upon the attitude<span class="pagenum"><a name="Page_170" id="Page_170">[170]</a></span>
+of the man who made the statements&mdash;whether his
+words were a conscious or an unconscious public
+utterance. When a man speaks from a platform he
+utters every sentence and every word with an idea
+of possible quotation&mdash;he is not only willing to be
+quoted but he wants to be quoted. But when he
+speaks privately to a reporter he usually dreads quotation.
+Of course, he expects that you will print a
+few of his remarks but he is constantly hoping that
+you will not remember and print them all. He
+speaks more guardedly, too, since he is not sure of
+the interpretation that may be given to his words.
+Hence it is a very different matter to report what
+a man says in public and to get statements for the
+press from him in private. Any one can report
+a speech but great skill is required to get a good interview&mdash;especially
+if the victim is unwilling to talk.</p>
+
+<p>The first matter that a reporter has to consider
+is the means of retaining the statements until he
+is able to write his story. It is a simple matter to
+get quotations from a speech because it is possible
+to sit anywhere in the audience and write down
+the speaker's words in a notebook as they are uttered.
+But the notebook must be left behind when
+you try to interview. When a man is not used to
+being interviewed nothing will make him reticent
+so quickly as the appearance of a notebook and pencil;<span class="pagenum"><a name="Page_171" id="Page_171">[171]</a></span>
+he realizes that his words are to appear in print
+just as he utters them and he immediately becomes
+frightened. Ordinarily so long as he feels that
+what he says is going into the confidential ear of
+the reporter&mdash;and out of the other ear just
+as quickly&mdash;he is willing to talk more freely and
+openly and to say exactly what he thinks. This,
+of course, does not apply to prominent men who
+are used to being interviewed and prefer to have
+their remarks taken down verbatim. Such an interview,
+however, is little more than a call to secure
+a statement for publication.</p>
+
+<p>It might be well to settle the notebook question
+here and now when it assumes the greatest importance.
+The stage has hardened us to seeing a reporter
+slinking around the outskirts of every bit of
+excitement writing excitedly and hurriedly in a
+large leather notebook. So hardened are we to the
+sight that some new reporters buy a notebook just
+as soon as they get a place on a newspaper staff.
+But real reporters on real newspapers do not use
+notebooks. A few sheets of folded copy paper hidden
+carefully in an inside pocket ready for names
+and addresses and perhaps figures are all that most
+of them carry. Many people dread publicity and
+the appearance of a notebook frightens them into
+silence more quickly than the actual appearance of<span class="pagenum"><a name="Page_172" id="Page_172">[172]</a></span>
+a representative of the press. This is true in the
+reporting of any bit of news, in the covering of any
+story&mdash;and it is ordinarily true in interviewing for
+statements that are to be quoted. Of course, an
+exception to this must be made in the case of some
+prominent men who prefer to issue signed written
+statements when they are interviewed.</p>
+
+<p>The impossibility of using a notebook or writing
+down a man's words in an interview seriously complicates
+the task of interviewing. Some reporters
+train themselves until they are able to remember
+their victim's words long enough to get outside and
+write them down. Others are satisfied with getting
+the ideas and the spirit of what is said together with
+the man's manner of talking. A few characteristic
+mannerisms thrown in with a true report of his
+ideas will make any speaker believe that you have
+quoted him exactly. Whichever method is pursued,
+the reporter must always be fair and try to tell the
+readers of the paper the man's true ideas. The exigencies
+of the case give the reporter greater liberty
+than in quoting from a speech but he must not abuse
+his liberty.</p>
+
+<p>The success of an interview depends very largely
+upon the way in which a reporter approaches the
+man whom he wishes to interview. It is never well
+to trust to the inspiration of the moment to start<span class="pagenum"><a name="Page_173" id="Page_173">[173]</a></span>
+the conversation. The reporter must know exactly
+what he wishes to have the man say before he approaches
+him and must already have framed his
+questions so as to draw out the answers that he
+wishes. People are never interviewed except for a
+purpose and that purpose should suggest the reporter's
+first question. No matter how willing the
+man is to tell what he thinks he will seldom begin
+talking until the reporter asks him a definite question
+to help him in putting his thoughts into words.
+All of this should be considered beforehand. The
+reporter should have outlined a definite campaign
+and have a series of questions which he wishes to
+ask. If he has written the questions out beforehand,
+the task becomes an easier one&mdash;he merely
+fills in the answers on his list later and has the interview
+in better form than if he had tried to trust
+entirely to his memory. To be sure, the questions
+may open up unexpected lines of thought and he
+may get more than he went for, but he must have
+his questions ready for use as soon as each new line
+is exhausted. A skilled reporter frames the interview
+himself and keeps the result entirely in his own
+hands through the campaign that he has outlined
+beforehand. Unless he knows exactly what he
+wants to get, a wary victim may lead him off upon
+unimportant facts and in the end tell him nothing<span class="pagenum"><a name="Page_174" id="Page_174">[174]</a></span>
+that his paper has sent him to get. A reporter must
+keep the reins of an interview in his own possession.</p>
+
+<p>A good reporter takes great care in his manner
+of addressing a man whom he is to interview. A
+well-known newspaper follows the rule of asking
+its reporters never to do what a gentleman would not
+do. A reporter who is trying to interview must always
+be a gentleman and must not ask questions
+that a gentleman would not ask. If the victim is
+a prominent man of great personality it is not hard
+to follow this rule&mdash;in fact, it is impossible to get
+the interview by any other method of approach. But
+when one is trying to interview a person of humbler
+station, the case is different. It is very easy then
+to fall into a habit of demanding information and
+turning the interview into an inquisition. But the
+reporter who keeps his attitude as a gentleman gets
+more real facts even when his victim is of the most
+humble social status. Therefore, never approach
+your victim as if he were a witness and you a cross-questioning
+lawyer. Do not say: "See here, you
+know more about it than that," and thus try to
+force unwilling information from him. Go at him
+in a more round-about way and lead him to give
+you the facts unwittingly perhaps.</p>
+
+<p>A young reporter often feels an impulse to become
+too personal with the man whom he is interviewing.<span class="pagenum"><a name="Page_175" id="Page_175">[175]</a></span>
+He must always remember that he is not there for
+a friendly chat but as a representative of a newspaper,
+sent to get concise facts or opinions. This
+attitude must be maintained even with the humblest
+persons. Any desire to sympathize, criticize, or advise
+must be checked at the very start. The point
+of view must always be kept.</p>
+
+<hr class="hr6" />
+
+<p>Although the main difference between writing interview
+stories and reporting speeches lies in the
+very act of getting the quotations and words of the
+speaker, there are certain aspects in which the writing
+of an interview story is different. The actual
+form of the two stories is almost identical and yet
+there is a tone in the interview story that is lacking
+in the report of a speech. This may be called the
+personal tone.</p>
+
+<p>The very name of the speaker obviously plays a
+much larger part in the interview story than in the
+speech report. We may be more interested in what
+a man says in a public discourse than we are in the
+man, but when we interview a man we want his
+opinions not for themselves so much as because they
+are his opinions. An interview with the President
+on the tariff is not necessarily interesting in the
+new ideas that it brings out, for we have many
+other ways of knowing the President's opinions on<span class="pagenum"><a name="Page_176" id="Page_176">[176]</a></span>
+the tariff question; but the interview is worth printing
+because every one is interested in reading anything
+that the President says, although he may have
+read the same thing many times before. A man
+is seldom interviewed unless he is of some prominence&mdash;that
+is why he is interviewed, and so in
+the resulting story his name plays a very important
+part. In fact, his name is usually the feature of
+the story; most interview stories begin directly
+with the name of the man whose statements are
+quoted.</p>
+
+<p>Although a man may be interviewed simply
+because of his prominence and popularity, there is
+usually another reason for the interview. We are
+interested not only in hearing him say something
+but we wish to hear him say something on a certain
+topic. The interview thus has a timeliness, a reason
+for existence. Since this timeliness is the reason
+for printing a certain man's statements, the reporter's
+account must indicate that timeliness near
+the beginning. That is, the first sentence of an
+interview story must not only tell who was interviewed
+and the gist of what he said, but it must
+tell why he said it. The interview must be connected
+with the rest of the day's news. This comes out
+very definitely in the custom which many newspapers
+have of printing the opinions of many prominent<span class="pagenum"><a name="Page_177" id="Page_177">[177]</a></span>
+men in connection with any important event.
+Perhaps it is because we wish to know their opinions
+on the subject or perhaps it is simply because
+we are glad to have a chance to hear them talk&mdash;at
+any rate many editors make any great event an excuse
+for a series of interviews. This is illustrated
+by the opinions of the various labor leaders that
+were printed with the story of the recent confession
+of the McNamara brothers. In such a case, the reporter
+must make the reason for the interview his
+starting point in the report and must indicate very
+plainly why the man was interviewed.</p>
+
+<p>This idea of timeliness is very often carried to the
+extent of making the interview merely a denial or
+an assertion from the mouth of a well-known man.
+There may be an upheaval in Wall Street. Immediately
+the papers print an interview in which some
+prominent financier denies or asserts that he is at the
+bottom of the upheaval. Naturally the report of the
+interview begins with the very words of the denial or
+the assertion. Very often a man when interviewed
+refuses to say anything on the subject. The fact
+that he has nothing to say does not mean that the
+interview is not worth reporting. In fact, that refusal
+to speak may be the most effective thing that
+he could say. The reporter begins by telling that
+his man had nothing to say on the subject and ends<span class="pagenum"><a name="Page_178" id="Page_178">[178]</a></span>
+by telling what he should have said or what his refusal
+to speak probably means,&mdash;if the paper is not
+too scrupulous in such matters. At any rate, the
+denial or assertion or refusal to speak becomes the
+starting point of the report and furnishes the excuse
+for the interview story. The expanded remarks
+that follow the lead are of course important but they
+are not so important as the primary expression of
+opinion that the reporter went for.</p>
+
+<p>The personal element in interviewing may be carried
+to an extreme extent. The man who is interviewed
+may so far overshadow the importance of
+what he says that the report of the interview becomes
+almost a sketch of the man himself. That
+is, the report is filled with human interest. The
+quotations are interspersed with action and description.
+We are told how the man acted when he said
+each individual thing. His appearance, attitude, expression,
+and surroundings become as important
+as his words and are brought into the report as vividly
+as possible. Such an interview may become
+almost large enough to be used as a special feature
+story for the Sunday edition, but when the human
+interest is limited to a comparatively subordinate
+position the report still keeps its character as an
+interview news story. Such a thing may be illustrated
+from the daily press:</p>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_179" id="Page_179">[179]</a></span>
+"I would rather have four battleships
+and need only two than to have two and
+need four."</p>
+
+<p class="nt">Seated in the cool library of Colonel
+A. K. McClure's summer home at Wallingford,
+Rear Admiral Winfield Scott
+Schley, retired, thus expressed himself
+yesterday on the need of a larger and
+greater navy.</p>
+</div>
+
+<p>After all has been said about interviewing, the
+one thing that a reporter must remember is that
+an interview story is at best rather dry and everything
+that he can do to increase the interest will
+improve the interview. But all of this must be
+done with absolute fairness to the speaker and great
+truthfulness in the quotation of his ideas and
+opinions.</p>
+
+<hr class="hr6" />
+
+<p>To come to the technical form of the interview
+story, we find that there are very nearly as many
+possible beginnings as in the case of the report of
+a speech. The interview story must begin with a
+lead that tells who was interviewed, when, and
+where, what he said (in a quotation or an indirect
+summary), and why he was interviewed. This is
+like the lead of a speech report in every particular
+except in the timeliness&mdash;the occasion for a speech
+is seldom mentioned in the lead, but a reporter usually<span class="pagenum"><a name="Page_180" id="Page_180">[180]</a></span>
+tells at once why he interviewed the man whose
+words he quotes.</p>
+
+<p><b>1. Speaker Beginning.</b>&mdash;The very purpose behind
+interviewing makes the so-called speaker beginning
+most common. It is almost an invariable rule that
+the report of an interview must begin with the
+man's name unless what he says is of greater importance
+than his name&mdash;which is seldom.</p>
+
+<p>The simplest form of the speaker beginning is the
+one in which the speaker's name is followed directly
+by a summary of what he said, as:</p>
+
+<div class="block">
+<p class="nt nb">Dr. David Starr Jordan, president of
+Leland Stanford Junior University, said
+yesterday at the Holland House that in
+the development of American universities
+educators must separate the lower
+two classes from the upper two, the
+present freshman and sophomore classes
+to be absorbed by small colleges or supplemental
+high schools, making the junior
+year the first in the university training.
+He said the universities should receive
+only men, not boys.&mdash;<em>New York
+Tribune.</em></p>
+</div>
+
+<p>Another kind of speaker beginning may devote
+most of the lead to the explanation of the reason
+for the interview, giving the briefest possible summary
+of what was said: Thus:</p>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_181" id="Page_181">[181]</a></span>
+Director Lang of the department of
+public safety is going to place a ban on
+the playing of tennis on Sunday. He
+doesn't know just yet how he is going
+to accomplish this, but yesterday he declared
+that he would find some law applicable
+to the case.&mdash;<em>Pittsburgh Gazette-Times.</em></p>
+</div>
+
+<p>One step further brings us to the entire exclusion
+of the result of the interview from the lead. In this
+case the reason for the interview occupies the entire
+lead and we must read part of the second paragraph
+to find what the man said; thus:</p>
+
+<div class="block">
+<p class="nt nb">Charles F. Washburn, Richmond
+Hill's wizard of finance, promises to
+appear at his broker's office in Newark,
+N. J., this morning with a fresh bank
+roll, accumulated since the close of the
+market on Saturday.</p>
+
+<p class="nt">(The second paragraph tells what it
+is all about and the third quotes his
+words.)&mdash;<em>New York World.</em></p>
+</div>
+
+<p>It is to be noted that in each of the above leads
+the speaker's name is always accompanied by a
+word or two telling who he is and why he was interviewed.
+Furthermore the reporter himself has
+no more place in the lead than if he were reporting
+a speech&mdash;his existence and the part he played in
+getting the interview are strictly ignored.<span class="pagenum"><a name="Page_182" id="Page_182">[182]</a></span></p>
+
+<p><b>2. Summary Beginning.</b>&mdash;There are two common
+ways of beginning an interview story with a summary.
+First, the lead may begin with a <em>that</em>-clause
+which embodies the gist of the interview; this is
+like the <em>that</em>-clause beginning of the report of a
+speech; thus:</p>
+
+<div class="block">
+<p class="nt nb">That the apparent apathy among the
+voters of the country is merely contentment
+with the present administration of
+affairs by the Republican party is the
+contention of ex-Senator John M.
+Thurston of Nebraska. Mr. Thurston
+was at Republican national headquarters
+today, etc.&mdash;<em>New York Evening Post.</em></p>
+</div>
+
+<p>Secondly the summary beginning is used in the
+case of an interview that is a denial or an assertion
+by the man interviewed. The lead begins with a
+clause or a participial phrase embodying the substance
+of the interview, and the name of the speaker
+is made the subject of a verb of denying or asserting;
+thus:</p>
+
+<div class="block">
+<p class="nt nb">Declaring that his office is run as economically
+as possible, Sheriff H. E.
+Franke denied on Sunday that he had
+expended more than $688 for auto hire
+to collect $1,409.28 of alleged taxes.</p>
+
+<p class="nt nb">(The second paragraph begins with a
+direct quotation.)&mdash;<em>Milwaukee Sentinel.</em></p>
+</div><p><span class="pagenum"><a name="Page_183" id="Page_183">[183]</a></span></p>
+
+<div class="block">
+<p class="nt nb">Although he had sharply criticised
+Roosevelt's special message condemning
+some of the uses to which the possessors
+of large fortunes are putting their
+wealth, President Jacob Gould Schurman,
+Cornell University, declined to discuss
+Roosevelt or his policies in Milwaukee
+yesterday. He said that he was
+not talking politics.</p>
+
+<p class="nt nb">(The rest of the report is a quotation
+of his views on college athletics.)&mdash;<em>Milwaukee
+Free Press.</em></p>
+</div>
+
+<p><b>3. Quotation Beginning.</b>&mdash;Many reports of interviews
+begin with a direct quotation. The logic of
+this is that the expression of opinion is, in some
+cases, of more interest than the name of the man
+who expressed the opinion. Sometimes the name
+of the speaker is not considered worth mentioning
+and in that case a direct quotation is the only advisable
+beginning; thus:</p>
+
+<div class="block">
+<p class="nt nb">"With the prices of food for hogs
+and cattle going up, it is natural that
+the food&mdash;beef and pork&mdash;for us humans
+should keep pace."</p>
+
+<p class="nt nb">This was the logic of an east-side
+butcher who discussed the probable rise
+in the prices of meat.&mdash;<em>Milwaukee Free
+Press.</em></p>
+</div>
+
+<p>Sometimes a short quotation is used at the beginning
+of the lead very much as a title is used in a
+speech report; thus:<span class="pagenum"><a name="Page_184" id="Page_184">[184]</a></span></p>
+
+<div class="block">
+<p class="nt nb">NEW YORK, June 1.&mdash;"A business
+proposition which should have been put
+in effect nearly twenty years ago," was
+John Wanamaker's comment today on
+the adoption of 2-cent letter postage between
+the United States and Great
+Britain and Ireland.&mdash;<em>Milwaukee Free
+Press.</em></p>
+</div>
+
+<p>If the quotation at the beginning consists of only
+one sentence the name of the speaker may be run
+into the same paragraph; thus:</p>
+
+<div class="block">
+<p class="nt nb">"Judge McPherson's recent decision
+declaring Missouri's 2-cent fare confiscatory
+is an indication that vested interests
+are entitled to some protection
+and that legislatures must not go too far
+in regulating them," said Sir Thomas
+Shaughnessy, president of the Canadian
+Pacific road, on Sunday.&mdash;<em>Milwaukee
+Sentinel.</em></p>
+</div>
+
+<p>However if the quotation at the beginning contains
+more than one sentence it is best to paragraph
+the quotation separately and leave the name of the
+speaker until the second paragraph; thus:</p>
+
+<div class="block">
+<p class="nt nb">"The American Federation of Labor
+will enter the national campaign by
+seeking to place labor candidates on the
+tickets of the old parties. An independent
+labor party is eventually contemplated.
+But there is not time to get<span class="pagenum"><a name="Page_185" id="Page_185">[185]</a></span>
+results in that way in the next national
+campaign."</p>
+
+<p class="nt">So said H. C. Raasch, national president
+of the tile-layers, upon his return
+yesterday, etc.&mdash;<em>Milwaukee Free Press.</em></p>
+</div>
+
+<p><b>4. Human Interest Beginning.</b>&mdash;This is a designation
+devised to cover a multitude of beginnings. A
+human interest interview may begin with a quotation,
+a summary, a name, or an action. The aim is
+necessarily toward unconventionality and the form
+of the lead is left to the originality of the reporter.
+A few examples may illustrate what is meant by the
+human interest beginning:</p>
+
+<div class="block">
+<p class="nt nb">"There goes another string. Drat
+those strings!" Only Joseph Caluder
+didn't say "Drat."</p>
+
+<p class="nt">"Say, do you know that I have spent
+pretty nearly $1,000 for strings for that
+violin? Well, it's a fact. Listen." Etc.&mdash;<em>Milwaukee Sentinel.</em></p>
+</div>
+
+<div class="block">
+<p class="nt nb">Fire Marshal James Horan never
+bought a firecracker, but for many years
+he has celebrated Independence day in
+the thick of fires. He never owned a
+gun or revolver. His last prayer before
+trying to snatch a little needed
+sleep Friday night will be of the twofold
+form, etc.&mdash;<em>Chicago Post.</em></p>
+</div>
+
+<p>After what has been said about the body of a
+speech report, there is little more to be said about<span class="pagenum"><a name="Page_186" id="Page_186">[186]</a></span>
+the body of an interview story. The same rules
+apply in both cases. The body of the report should
+contain as much direct quotation as possible. However
+nothing less than a sentence should be quoted&mdash;that
+is, every quotation should be a complete sentence,
+with indirect explanation. Whenever "Said
+the speaker" or "Mr. Brown continued" or any similar
+expression is worked into the direct quotation
+it should always be placed at the end of the sentence;
+never begin a quotation in this way:&mdash;Mr. Jones
+continued, "Furthermore I would say, etc." In
+the same way, when a paragraph contains both direct
+and indirect quotation, the direct quotation
+should be placed at the beginning. Whenever it is
+possible, construct solid paragraphs of quotation,
+and solid paragraphs of summary. The report as a
+whole must have coherence and a logical sequence;
+for this a limited amount of indirect quotation may
+be used to fill in the gaps in the logic of the direct
+quotation.</p>
+
+<p>According to the usage of the best newspapers of
+to-day the reporter must never be brought into the
+report of an interview. His existence must never
+be mentioned although every reader knows that some
+reporter secured the interview. In the old days
+reporters delighted in bringing themselves into their
+stories as "representatives of the press" or "a reporter<span class="pagenum"><a name="Page_187" id="Page_187">[187]</a></span>
+for the Dispatch," but that practice has gone
+the way of the reporter's leather-bound notebook.
+The interview may be told satisfactorily without
+a mention of the reporter; hence newspaper usage
+has put a ban on his appearance in his story.</p>
+
+
+<p class="c2">GROUP INTERVIEWS</p>
+
+<p>We have said that a man is seldom interviewed
+without a reason; there is always a timeliness in interviewing.
+Any unusual event of broad importance
+becomes an excuse for the editor to print the opinion
+of some prominent man on some phase of the
+event. Sometimes the event is of such importance
+that the editor wishes to print the opinions of several
+men on the subject; or more than one prominent
+man may be involved in the affair and the public
+may wish to hear the opinions of every one involved.
+In such a case when several men are interviewed in
+regard to the same event it is considered rather useless
+and ineffective to print their interviews separately
+and the several interview stories are gathered
+together into one story and arranged in such
+a way that they may be compared. There are several
+ways of doing this.</p>
+
+<p>If the case or event is very well known, a lead or
+summary of the several interviews is considered unnecessary<span class="pagenum"><a name="Page_188" id="Page_188">[188]</a></span>
+and the words of the various men are
+grouped together under a single headline. This may
+be illustrated by the interviews that were printed
+after the confessions of the McNamara brothers of
+Los Angeles in the recent dynamiting case. The
+<em>Wisconsin State Journal</em> may be taken as representative.
+This paper printed the statements of
+twelve prominent men interested in the case in a
+three-column box under a long head; thus:</p>
+
+<div class="block">
+<p class="c nt nb"><b>Leaders Discuss the Case</b></p>
+
+<p class="nt nb">Samuel Gompers, president American Federation of
+Labor&mdash;I am astounded; I am astounded; my credulity
+has been imposed upon. It is a bolt out of a clear
+sky.</p>
+
+<hr class="hr6" />
+
+<p class="nt nb">John T. Smith, president Missouri Federation of Labor&mdash;I
+can not believe it. But if the McNamaras
+blew up the Times building they should be fully punished.</p>
+
+<hr class="hr6" />
+
+<p class="nt nb">Gen. Harrison Grey Otis, publisher of the Times&mdash;The
+result may be and ought to be, etc.</p>
+</div>
+
+<p>If the case had not been of such broad interest a
+lead embodying a summary of the interviews might
+have preceded the individual statements. It might
+have been done in this way:</p>
+
+<div class="block">
+<p class="nt nb">Great surprise has been expressed by
+the prominent labor leaders of the country
+at the confession of the McNamara<span class="pagenum"><a name="Page_189" id="Page_189">[189]</a></span>
+brothers in Los Angeles yesterday. That
+organized labor had no connection with
+the work of these men and that they
+should be fully punished is the consensus
+of opinion.</p>
+
+<p class="nt nb">Samuel Gompers, president American
+Federation of Labor&mdash;I am astounded;
+I am astounded; my credulity has been
+imposed upon. It is a bolt out of a
+clear sky.</p>
+
+<p class="nt nb">John T. Smith, president Missouri
+Federation of Labor&mdash;I can not believe
+it. Etc.</p>
+</div>
+
+<p class="noi">In such a story as the above, the statements are usually
+printed without quotation marks; each paragraph
+begins with a man's name, followed by a dash
+and what he said. The grouping together of several
+interviews is often done less formally. The
+whole thing may be written as a running story, and
+sometimes the names of the persons interviewed
+are omitted; thus:</p>
+
+<div class="block">
+<p class="nt nb">Proprietors of the big flower shops,
+the places from which blossoms are delivered
+in highly polished and ornate
+wagons, drawn by horses that might
+win blue ribbons, and where, in the
+proper season, a single rose costs three
+dollars, do not approve of the comments
+made by a dealer who recently
+failed. Among these sayings was one
+to the effect that young millionaires
+spend a thousand dollars a week on<span class="pagenum"><a name="Page_190" id="Page_190">[190]</a></span>
+flowers for chorus girls who earn
+twelve dollars a week, and who sometimes
+take the flowers back to the shop
+to exchange them for money to buy
+food and clothes.</p>
+
+<p class="nt nb">"That's all nonsense," said one dealer.
+(This paragraph is devoted to his opinion
+on the matter.)</p>
+
+<p class="nt">"We have enough trouble in this business,"
+said another dealer, "without having
+this silly talk given to the public."
+(This paragraph gives this dealer's
+opinion)&mdash;<em>New York Evening Post.</em></p>
+</div>
+
+<p>(Each paragraph is devoted to a single interview.)</p>
+
+<p>The same paragraph may be done with more local
+color as in the following:</p>
+
+<div class="block">
+<p class="nt nb">Chinatown feels deeply its bereavement
+in the deaths of the Empress Dowager
+and the Emperor of China. Chinatown
+mourns, but it does so in such an
+unobtrusive Oriental way that the casual
+visitor on sympathy bent may feel that
+his words of condolence would be misplaced.</p>
+
+<p class="nt nb">A reporter from this paper was assigned
+yesterday to go up to Chinatown
+and in as delicate a way as possible to
+gather some of the sentiments of appreciation
+of the merits of Kuang-hsu and
+his lamented aunt, Tzu-hsi. He was
+told that he might write a little about
+the picturesque though nevertheless sincere
+expressions of mourning that he<span class="pagenum"><a name="Page_191" id="Page_191">[191]</a></span>
+might observe in Pell and Mott streets.</p>
+
+<p class="nt nb">Mr. Jaw Gum, senior partner in the
+firm of Jaw Gum &amp; Co., importers of
+cigars, cigarettes, dead duck's eggs and
+Chinese delicatessen, of 7 Pell street,
+was at home. Mr. Gum was approached.</p>
+
+<p class="nt nb">"We would like to learn a little about
+the arrangements that are being made
+by the Chinese to indicate their sorrow
+at the deaths of their beloved rulers."</p>
+
+<p class="nt nb">"What number?" queried Mr. Gum.
+The question was repeated.</p>
+
+<p class="nt nb">"P'licyman, he know," remarked Mr.
+Gum sagely.</p>
+
+<p class="nt">(So on for a column with interviews
+and statements from several of Mr.
+Gum's neighbors.)&mdash;<em>New York Sun.</em></p>
+</div>
+
+<p class="noi">But this is very much like a human interest story&mdash;the
+reporter takes part in it&mdash;and we shall discuss
+that later.</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_192" id="Page_192">[192]</a></span>
+<a name="xii" id="xii"></a>XII<br />
+<br />
+<small>COURT REPORTING</small></h2>
+
+
+<p>Probably few classes of news stories present such
+a lack of uniformity and such a variety of treatments
+as the reports of court news. Legal stories
+belong to one of the few sorts of stories that do not
+tend to become systematized. But there is a reason
+for almost everything in a newspaper and there is
+also a reason for the freedom that reporters are
+allowed in reporting testimony. The reason in this
+case is probably in the fact that very rarely do two
+court stories possess the same sort of interest or the
+same news value.</p>
+
+<p>We have seen that reports of speeches are printed
+in the daily press because our readers are interested
+in the content of the speech or in the man who uttered
+it. In the same way, our readers are interested
+in interviews because of the man who was interviewed,
+because of their content, or because of
+their bearing on some current event. On the other
+hand there is an infinite number of reasons why a
+court story is worth printing or why it may not be<span class="pagenum"><a name="Page_193" id="Page_193">[193]</a></span>
+worth a line. Sometimes the interest is in the persons
+involved; sometimes in the significance of the
+decision. People may also be interested in a case
+because of its political or legal significance or merely
+because of the sensational testimony that is given.
+And again a very trivial case may be worth a large
+amount of space in the daily paper just because of
+its human interest&mdash;because of the pathos or humor
+that the reporter can bring into it. Thus the resulting
+reports are hard to classify. Each one depends
+on a different factor for its interest and each
+must be written in a different way so that its individual
+interest may be most effective. However
+there are general tendencies in the reporting of court
+news.</p>
+
+<p>The news itself is comparatively easy to get. In
+a large city every court is watched every day by a
+representative of the press, either a reporter for an
+individual paper or for a city news gathering association.
+In some cities where there is no independent
+news gathering agency papers sometimes club
+together to keep one reporter at each court. The
+man who is on duty must watch all day long for
+cases that are of interest for one reason or another.
+Even with all this safeguarding sometimes
+an important case slips by the papers; often the reporter
+on duty considers of little interest a case that<span class="pagenum"><a name="Page_194" id="Page_194">[194]</a></span>
+is worth columns when some paper digs into it.
+Every reporter however who is trying to do court
+reporting should learn the ordinary routine of legal
+proceedings; for example, the place and purpose of
+the pleas, the direct and cross examination of witnesses,
+and other legal business.</p>
+
+<p>As we shall see when we begin to write court reports,
+it is necessary to exercise every possible trick
+to put interest into the story. In the actual court
+room all that relieves the dreary monotony of legal
+proceedings is an occasional bit of interesting testimony.
+And when the reporter tries to report a case
+he sometimes finds that interesting testimony is all
+that will lighten up the dull monotony of his story.
+Therefore while he is listening to a case he tries to
+get down verbatim a large number of the interesting
+questions and answers. Or if he is unable
+to be present he tries to get hold of the court stenographer's
+record to copy out bits of testimony for
+his account. Beyond this recording of testimony
+there is really little difficulty in court reporting except
+the difficulty of separating the interesting from
+the great mass of uninteresting matter.</p>
+
+<p>As to the actual writing of the report of a legal
+trial, the one thing that the reporter must remember
+is that a case is seldom reported for the public's interest
+in the case itself. There is usually some other<span class="pagenum"><a name="Page_195" id="Page_195">[195]</a></span>
+reason why the editor wants a half a column of it.
+That reason is the thing that the reporter must
+watch for and when he finds it he must make it the
+feature of his report to be embodied in the first line
+of the lead.</p>
+
+<p>When we try to play up the most interesting feature
+of a court report we find that we must fall
+back upon the same beginnings that we used in reporting
+speeches and interviews. There are several
+possible ways of beginning such a story, depending
+upon the phase of the case or its testimony that is
+of greatest importance.</p>
+
+<p><b>1. Name Beginning.</b>&mdash;The proper name beginning
+is very common. It is always used when any one
+of prominence is involved in the story or when the
+name, although unknown, can be made interesting
+in itself&mdash;as in a human interest story. The name is
+usually made the subject of the verb testified, as in
+this lead:</p>
+
+<div class="block">
+<p class="nt nb">A. F. Law, secretary of the Temple
+Iron Company, a subsidiary company
+of the Reading Coal and Iron Company,
+called before the government investigation
+of the alleged combination
+of coal carrying roads, testified today
+in the Federal building that four roads
+had contributed $488,000 to make up the
+deficit of the Temple company during
+three years of coal strikes.&mdash;<em>New York
+Sun.</em></p>
+</div>
+
+<p class="noi"><span class="pagenum"><a name="Page_196" id="Page_196">[196]</a></span>
+The name of a well-known company often makes a
+good beginning:</p>
+
+<div class="block">
+<p class="nt nb">The Standard Oil Company sent a
+sweeping broadside into the Government's
+case yesterday at the hearing in
+the suit seeking to dissolve the Standard
+Oil Company of New Jersey under the
+Sherman anti-trust law, when witnesses
+began to tell of the character of a number
+of men the Government had placed
+upon the witness stand.&mdash;<em>New York
+Times.</em></p>
+</div>
+
+<p class="noi">The name of the judge himself may be used in the
+first line:</p>
+
+<div class="block">
+<p class="nt nb">Judge Mulqueen of General Sessions
+explained today why he had sentenced
+two prisoners to "go home and serve
+time with the families." This punishment
+was imposed yesterday when both
+men pleaded drunkenness as their excuse
+for trivial offenses.&mdash;<em>New York
+Evening Post.</em></p>
+</div>
+
+<p><b>2. Continued Case Beginning.</b>&mdash;Many court reports
+begin with the name of the case when the case
+has been running for some time and is well known.
+Each individual story on such a case is just a continuation
+of a sort of serial story that has been running
+for some time and in the lead each day the reporter
+tries to summarize the progress that has been<span class="pagenum"><a name="Page_197" id="Page_197">[197]</a></span>
+made in the case during the day's hearing. However
+each story, like a follow-up story, is written in
+such a way that a knowledge of previous stories is
+not necessary to a clear understanding:</p>
+
+<div class="block">
+<p class="nt nb">The hearing yesterday in the Government's
+suit to dissolve the Standard
+Oil Company ended with a dramatic incident.
+Mr. Kellogg sought to show
+that the Standard compelled a widow,
+Mrs. Jones, of Mobile, Ala., to sell out
+her little oil business at a ruinous sacrifice.&mdash;<em>New
+York World.</em></p>
+</div>
+
+<p class="noi">In some cases this sort of a lead begins with the
+mere mention of the continuing of the trial:</p>
+
+<div class="block">
+<p class="nt nb">At the opening of the defence today
+in the sugar trials before Judge Martin
+of the United States Circuit Court,
+James F. Bendernagal took the witness
+chair in his own behalf, etc.&mdash;<em>New York
+Evening Post.</em></p>
+</div>
+
+<p><b>3. Summary Beginning.</b>&mdash;The lead of a court report
+often begins with a brief summary of the result
+of the trial or of the day's hearing:</p>
+
+<div class="block">
+<p class="nt nb">What the Government has characterized
+as "unfair competition and discrimination"
+on the part of the Standard
+Oil Company continued to be the
+subject of the investigation of that corporation
+today before Franklin Ferris
+of St. Louis, referee, in the Custom
+House.&mdash;<em>New York Evening Post.</em></p>
+</div>
+
+<p class="noi"><span class="pagenum"><a name="Page_198" id="Page_198">[198]</a></span>
+The summary may be presented in as formal a way
+as the <em>that</em>-clause beginning which we used in reports
+of speeches:</p>
+
+<div class="block">
+<p class="nt nb">That the Adams' Express Company's
+business in New England in 1909 yielded
+a profit representing 45 per cent. on
+the investment, including real estate
+and, excepting real estate, a net income
+of more than 83 per cent., came out in
+the course of the hearing before the
+Interstate Commerce Commission, etc.&mdash;<em>New
+York Evening Post.</em></p>
+</div>
+
+<p><b>4. Direct Quotation Beginning.</b>&mdash;A direct quotation
+of some striking statement made by the judge,
+by a lawyer, by a witness, or by any one connected
+with the trial may be used at the beginning of the
+lead. Here is a lead beginning with a quotation
+from the title of a case:</p>
+
+<div class="block">
+<p class="nt nb">"Captain Dick and Captain Lewis, Indians,
+for and on behalf of the Yokayo
+tribe of Indians, vs. F. C. Albertson, T.
+J. Weldon, as administrator of the estate
+of Charley, Indian, deceased, Minnehaha,
+Ollagoola, Hiawatha, Wanahana,
+Pocahontas, etc."</p>
+
+<p class="nt nb">So runs the title of as unusual a case
+as jurists, etc.&mdash;<em>San Francisco Examiner.</em></p>
+</div>
+
+<p><b>5. Human Interest Beginning.</b>&mdash;The human interest
+beginning is a more or less free beginning which<span class="pagenum"><a name="Page_199" id="Page_199">[199]</a></span>
+may be used in the reporting of rather insignificant
+cases which are of value only for the human interest
+in them. The beginning is capable of almost
+any treatment so long as it brings out the humor,
+beauty, or pathos of the situation. Sometimes the
+story begins with a rather striking summary of the
+unusual things that came out in the testimony, as
+in this case:</p>
+
+<div class="block">
+<p class="nt nb">How suddenly and how radically a
+woman can exercise her inalienable prerogative
+and change her mind is shown
+in the testamentary disposition made of
+her estate by Mrs. Jennie L. Ramsay.
+She made a will on July 4 last, at 3
+o'clock in the afternoon, leaving her
+property to her husband, and at 7 o'clock
+in the evening of the same day she
+made another will in which she took
+the property away from her husband.&mdash;<em>New
+York Times.</em></p>
+</div>
+
+<p class="noi">Here is an interesting illustration of the use of a
+trivial incident as the basis for a humorous lead:</p>
+
+<div class="block">
+<p class="nt nb">Bang, an English setter dog, accused
+of biting 11-year-old Sophie Kahn, made
+an excellent witness in the City Court
+today when his owner, Hirman L.
+Phelps, a real estate dealer of the
+Bronx, appeared as defendant in a damage
+suit brought by the girl for $2,000.&mdash;<em>New
+York Evening Post.</em></p>
+</div>
+
+<p>The lead of a report of legal proceedings is very<span class="pagenum"><a name="Page_200" id="Page_200">[200]</a></span>
+much like the lead of a report of a speech or an
+interview. It always begins with the most interesting
+fact in the case and briefly summarizes the result
+of the trial or the day's hearing. It is to be noted
+that the lead of such a story always includes a designation
+of the court in which the hearing was held
+and usually the name of the judge and of the case.</p>
+
+<p>After the lead is finished a court report usually
+turns into a running story of the evidence as it
+was presented. This may be condensed into a paragraph,
+giving the reader merely the point of the
+day's hearing, or it may be expanded into several
+columns following the testimony more or less closely.
+In form, it is very much like the summary paragraphs
+in the body of a speech report. The result
+is usually more or less dry and reporters often resort
+to a means, similar to dialogue in fiction, to
+lighten it up. Some of the more important testimony
+is given verbatim interspersed with indirect
+summaries of the longer or less important speeches.
+Its presentation usually follows the ordinary rules
+of dialogue. Here is an extract from such a story:</p>
+
+<div class="block">
+<p class="nt nb">After describing himself as a breeder
+of horses, Gideon said that he was a
+member of the Metropolitan Turf Association,
+the bookmakers' organization,
+but had never been engaged in bookmaking.<span class="pagenum"><a name="Page_201" id="Page_201">[201]</a></span>
+He did not know where "Eddie"
+Burke, "Tim" Sullivan (not the
+politician), or any of the other missing
+"bookies" could be found.</p>
+
+<p class="nt nb">"You are a member of the executive
+committee of the Metropolitan Turf
+Association?" asked Isidor J. Kresel,
+assistant counsel of the committee.</p>
+
+<p class="nt nb">"Yes."</p>
+
+<p class="nt nb">"Now, what did your committee do
+in 1908, when the anti-race track legislation
+was pending?"</p>
+
+<p class="nt nb">"I don't know."</p>
+
+<hr class="hr6" />
+
+<p class="nt nb">"How much did you pay in 1908?"</p>
+
+<p class="nt nb">"Two hundred and fifty dollars."</p>
+
+<p class="nt nb">"To whom?"</p>
+
+<p class="nt nb">"Mr. Sullivan."</p>
+
+<p class="nt nb">"What for?"</p>
+
+<p class="nt nb">"Death assessments."</p>
+
+<p class="nt nb">Gideon said that the little he knew of
+the doings of the "Mets" was from conversation
+with the bookies. Etc., etc.&mdash;<em>New
+York Evening Post.</em></p>
+</div>
+
+<p class="noi">Sometimes this direct testimony is given, not in the
+dialogue form, but as questions and answers. Thus:</p>
+
+<div class="block">
+<p class="nt nb">In reply to other questions, Bendernagel
+said he ordered the office supplies,
+looked after the insurance on the sugar,
+and was responsible for the fuel, some
+700 tons of coal a day.</p>
+
+<p class="nt nb">Question.&mdash;How much money was
+paid through your office in the course
+of a year? Answer.&mdash;Four million dollars.<span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span></p>
+
+<p class="nt nb">Q.&mdash;So yours was a busy office?
+A.&mdash;Exceedingly so.</p>
+
+<p class="nt nb">Q.&mdash;How long were the raw sugar
+clerks in your office? A.&mdash;About twenty
+years. Etc., etc.&mdash;<em>New York Evening
+Post.</em></p>
+</div>
+
+<p class="noi">Some papers would arrange these questions and answers
+differently, paragraphing each speech separately
+as in dialogue:</p>
+
+<div class="block">
+<p class="nt nb">Question.&mdash;Did you regulate their duties
+in any way?</p>
+
+<p class="nt nb">Answer.&mdash;No.</p>
+
+<p class="nt nb">Q.&mdash;Were you connected with the
+docks?</p>
+
+<p class="nt nb">A.&mdash;No; that was a separate department.
+It had its own forces, and they
+worked under Mr. Spitzer. He had entire
+charge. Etc., etc.</p>
+</div>
+
+<p class="noi">The court records take cognizance only of the actual
+words uttered in the testimony, but a newspaper reporter
+never fails to record any action or movement
+that indicates something beyond the words. Very
+often action is brought in merely for its human interest;
+thus:</p>
+
+<div class="block">
+<p class="nt nb">"How long has it been since you have
+had a maid?" asked Mr. Shearn sadly.</p>
+
+<p class="nt nb">"Not for some time," she said. "Away
+back in 1907, I think."</p>
+
+<p class="nt nb">"What did it cost you for two rooms
+and bath at the Hotel Belmont, where
+you lived last year?"<span class="pagenum"><a name="Page_203" id="Page_203">[203]</a></span></p>
+
+<p class="nt nb">"About $300 a week altogether. The
+rooms cost $20 a day."</p>
+
+<p class="nt nb">There were tears in her eyes when
+she explained that she could no longer
+afford to keep up her own automobile.
+Etc., etc.&mdash;<em>Milwaukee Free Press.</em></p>
+</div>
+
+<p class="noi">This sort of dialogue is dangerous and may easily
+be overworked, but it is very often extremely effective.
+One word like "sadly," above, may convey
+more meaning than many lines of explanation.</p>
+
+<hr class="hr6" />
+
+<p>These quotations are usually interspersed with
+paragraphs which summarize the unimportant intervening
+testimony. The running story attempts to
+follow the progress of the hearing in greater or less
+detail, depending upon the space given to the story,
+just as a speech report attempts to follow a public
+discourse. Dry and unimportant facts are briefly
+summarized, interesting parts of the testimony are
+quoted in full. The running story is usually written
+while the hearing is in session or taken from a
+stenographic report of the hearing. After the running
+story has been completed, the reporter prepares
+a lead for the beginning to summarize the
+results or to play up the most significant part of
+the story. If the running story is short a lead of
+one paragraph is sufficient, but if it is long, the
+lead may be expanded into several paragraphs.</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_204" id="Page_204">[204]</a></span>
+<a name="xiii" id="xiii"></a>XIII<br />
+<br />
+<small>SOCIAL NEWS AND OBITUARIES</small></h2>
+
+
+<p>The study of newspaper treatment of social news
+is a broad one. Every newspaper has its own system
+of handling social news and the general tendencies
+that are to be noted deal rather with the
+facts that are printed than with the manner of
+treatment. Every newspaper gives practically the
+same facts about a wedding but each individual newspaper
+has a method of its own of writing up those
+facts. One thing that is always true of social news
+reporting is that the amount of space given to social
+items varies inversely with the importance of the
+newspaper and the size of the city in which it is
+printed. A little country weekly or semi-weekly
+in a small town does not hesitate to run two columns
+or more on Sadie Smith's wedding. The report
+runs into minute details and anecdotes that all of
+the "Weekly's" readers know before the paper arrives.
+But the editor prints everything he can find
+or invent simply because all of his readers are more<span class="pagenum"><a name="Page_205" id="Page_205">[205]</a></span>
+or less personally connected with the affair and are
+anxious to see their names in print and to read
+about themselves. The liberty that such an editor
+gives himself is of course impossible in a larger
+paper.</p>
+
+<p>On the other hand, a daily in a city of average
+size would reduce such a story to a stickful and a
+metropolitan daily would run only a one-line announcement
+in the "List of marriages," unless the
+story was especially interesting. The same thing
+applies to all social stories. Some metropolitan
+newspapers do not run social news at all.</p>
+
+<p>All of this is true because social news is governed
+by the same principles that regulate all news
+values. Unless a society event has some feature
+that is interesting impersonally&mdash;that is, of interest
+to readers who do not know the principals of the
+event&mdash;it is of value only as a larger or smaller number
+of the paper's readers are personally connected
+with the event. Hence in a small town where every
+one knows every one else, society news is of great
+value. In a large city a very small proportion of
+the readers are connected with the social items that
+the paper has to print and are therefore not interested
+in them&mdash;accordingly the newspaper either
+cuts them down to a minimum of space or does not
+run them at all.<span class="pagenum"><a name="Page_206" id="Page_206">[206]</a></span></p>
+
+<p>Therefore in our study society news falls into two
+classes: social items that are of interest only in
+themselves to persons connected with the events;
+and big society stories or unusual social events that
+are of interest to readers who are not acquainted
+with the principals.</p>
+
+<p><b>1. Weddings.</b>&mdash;The wedding story reduced to its
+lowest terms in a metropolitan paper consists of a
+one-line announcement in the list of "Marriages"
+or "Marriage Licenses"; thus:</p>
+
+<div class="block">
+<p class="nt nb">SMITH-JONES&mdash;Feb. 14, Katherine
+Jones to Charles C. Smith.&mdash;<em>New York
+Times.</em></p>
+</div>
+
+<p>If the paper runs a few columns of social news
+and the persons concerned in the wedding are of any
+importance socially, the wedding may be given a
+stickful. Such an account would confine itself entirely
+to names and facts and would be characterized
+by very decided simplicity and brevity. Usually
+nothing more would be given than the names and
+address of the bride's parents, the bride's first name,
+the groom's name, the place, and the name of the
+minister who officiated. Occasionally the name of
+the best man and a few other details are added, but
+never does the story become personal. It is interesting
+only to those who know or know of the persons
+concerned.<span class="pagenum"><a name="Page_207" id="Page_207">[207]</a></span></p>
+
+<p>For example:</p>
+
+<div class="block">
+<p class="c nt nb">SMITH-JONES</p>
+
+<p class="nt nb">The marriage of Miss Katherine M.
+Jones, elder daughter of Mr. and Mrs.
+Randolph Jones, 253 Ninth street, and
+Charles C. Smith was celebrated at 4
+o'clock yesterday afternoon at the First
+Methodist Church, 736 Grand avenue.
+Rev. William Brown, rector of the
+church, performed the ceremony.</p>
+</div>
+
+<p class="noi">It will be noted that in the above story the name of
+the bride is written out in full, "Miss Katherine M.
+Jones." Many newspapers, however, would simply
+give her first name, thus: "Katherine, elder daughter
+of Mr. and Mrs. Randolph Jones."</p>
+
+<p>If the above wedding were of greater importance
+more details might be given. These would include
+the attendants, descriptions of the gowns of the
+bride and her attendants, the guests from out of
+town, music, decorations, the reception, and perhaps
+some of the presents. Sometimes the wedding trip
+and an announcement of when and where the couple
+will be at home are added. The above story might
+run on into detail something like this:</p>
+
+<div class="block">
+<p class="nt nb">Miss Jones, who was given in marriage
+by her father, wore a white satin
+gown trimmed with Venetian point lace,
+and her point lace veil, a family heirloom,
+was caught with orange blossoms.<span class="pagenum"><a name="Page_208" id="Page_208">[208]</a></span>
+She carried a bouquet of white sweet
+peas and lilies of the valley. Miss Dorothy
+Jones, a sister of the bride, who
+was maid of honor, wore a gown of
+green chiffon over satin, with lingerie
+hat, and carried sweet peas. Douglas
+Jackson was the best man and the
+ushers were Dr. John B. Smith, Samuel
+Smith, Gordon Hunt, Rodney Dexter,
+Norris Kenny, and Arthur Johnston. A
+reception followed the ceremony at the
+home of the bride's parents.</p>
+</div>
+
+<p class="noi">This is probably as long a story as any average
+paper would run on any wedding, unless the wedding
+had some striking feature that would make the
+story of interest to readers who did not know the
+principals. Note in the foregoing story the simplicity
+and impersonal tone. There is a wealth of
+facts but there is no coloring. This tone should
+characterize every society story. A list of out-of-town
+guests might have been added, but as often
+that would be omitted. In some cases the last sentence
+might be followed by an announcement like
+this:</p>
+
+<div class="block">
+<p class="nt nb">The bride and bridegroom have gone
+on a wedding tour of the West; after
+April 1 they will be at home at 76 Kimbark
+avenue.</p>
+</div>
+
+<p>In this connection the young reporter should note
+the distinctions in meaning of the various words<span class="pagenum"><a name="Page_209" id="Page_209">[209]</a></span>
+used in a wedding story. For instance, he should
+consult the dictionary for the exact use of the verbs
+"to marry" and "to wed"&mdash;he should know who "is
+married," who "is married to," and who "is given
+in marriage," etc. He should also know the difference
+between a "marriage" and a "wedding."</p>
+
+<p><b>2. Wedding Announcements.</b>&mdash;Wedding announcements
+are run in the social columns of many papers.
+These items contain practically the same facts that
+we find in the story written after the wedding, except,
+of course, that the reporter cannot dilate on
+decorations, and must stick to facts. These facts
+usually consist of the names of the couple, the names
+of the bride's parents, and the time and the place of
+the wedding. Additionally the reporter may give
+the minister's name, the names of the maid of honor
+and of the best man, the reception or breakfast to
+follow, and where the couple will be at home.</p>
+
+<div class="block">
+<p class="nt nb">The wedding of Miss Gladys Jones
+and Richard Smith will take place on
+Wednesday evening in All Angels'
+Church. The bride is a daughter of
+Mrs. Charles Jones, who will give a
+bridal supper and reception afterward at
+her home.</p>
+</div>
+
+<p>There are of course many other ways to begin
+the announcement. "Miss Mary E. MacGuire,<span class="pagenum"><a name="Page_210" id="Page_210">[210]</a></span>
+daughter of, etc."; "Invitations have been issued for
+the wedding of Miss, etc."; "One of the weddings
+on for Tuesday is that of Miss, etc."; "Cards are
+out for the wedding on Saturday of Miss, etc."; and
+many others. In each case the bride's name has the
+place of importance.</p>
+
+<p><b>3. Announcements of Engagements.</b>&mdash;Announcements
+of engagements are usually even briefer than
+wedding announcements. The item consists merely
+of one sentence in which the young lady's mother
+or parents make the announcement with the name
+of the prospective groom.</p>
+
+<div class="block">
+<p class="nt nb">Mrs. Russell D. Jones of 45 Ninth
+street announces the engagement of her
+daughter, Natalie, to John MacBaine
+Smith.</p>
+</div>
+
+<p class="noi">The item may also begin "Mr. and Mrs. X. X. So-and-So
+announce, etc.," or simply "Announcement
+is made of the engagement of Miss Stella Blank,
+daughter of, etc."</p>
+
+<p><b>4. Receptions and Other Entertainments.</b>&mdash;If a paper
+is to keep up in society news, it must report many
+social entertainments. However, such events are
+treated by large dailies as simply, briefly, and impersonally
+as possible. Such a story, like the report
+of a wedding, consists merely of certain usual facts.
+The name of the host or hostess, the place, the time,<span class="pagenum"><a name="Page_211" id="Page_211">[211]</a></span>
+and the special entertainments are of course always
+included. Sometimes the occasion for the event,
+the guests of honor, and a description of the decorations
+are added,&mdash;also the names of those who assisted
+the hostess.</p>
+
+<div class="block">
+<p class="nt nb">Mrs. James Harris Jones gave a reception
+yesterday at her home, 136 Fifth
+street, for her daughter, Miss Dorothy
+Jones. In the receiving line were Miss
+Marjorie Smith, Miss, etc. * * The reception
+was followed by an informal dance.</p>
+</div>
+
+<p>If the event is held especially for d&eacute;butantes, the
+fact is noted at the very start. "A number of d&eacute;butantes
+assisted in receiving at a tea given by, etc.";
+"The d&eacute;butantes of the winter were out in force,
+etc."</p>
+
+<p>Such a story is usually followed by a list of guests,
+a list of out-of-town guests, a list of subscribers,
+or something of the sort. Ordinarily the list is not
+tabulated but is run in solid, thus:</p>
+
+<div class="block">
+<p class="nt nb">The guests were: Miss Kathleen
+Smith, Miss Georgia Brown, etc.</p>
+</div>
+
+<p>Very often the names are grouped together, thus:</p>
+
+<div class="block">
+<p class="nt nb">The guests were: The Misses Kathleen
+Smith, Georgia Brown; Mesdames
+Robert R. Green, John R. Jones; and the
+Messrs. George Hamilton, Francis
+Bragg, etc.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_212" id="Page_212">[212]</a></span>
+The number of variations in such stories is limited
+only by the ingenuity of the people who are giving
+such entertainments. But in each case the reporter
+learns to give the same facts in much the
+same order. And he gives them in an uncolored, impersonal
+way that makes the items interesting only
+to those who are directly connected with them. The
+story may vary from a single sentence to half a
+column, but it always begins in the same way and
+elaborates only the same details. Before trying to
+write up social entertainments, a reporter should
+always be sure of the use of the various words he
+employs&mdash;"chaperon," "patroness," etc. For instance,
+can we say that "Mr. and Mrs. Smith acted
+as chaperons"?</p>
+
+<p><b>5. Social Announcements.</b>&mdash;Social announcements
+of any kind are usually, like the wedding and engagement
+announcements, confined to a single sentence.
+They tell only the name of the host and
+hostess, the name of the guest of honor or the occasion
+for the event, the time, and the place. Thus:</p>
+
+<div class="block">
+<p class="nt nb">Mrs. Charles P. Jones will give a
+dance this evening at her home, 181
+Nineteenth street, to introduce her sister,
+Miss Elsie Holt.</p>
+</div>
+
+<p>A study of the foregoing sections on society stories
+shows how definitely a reporter is restricted in<span class="pagenum"><a name="Page_213" id="Page_213">[213]</a></span>
+the facts that he may include in his social items&mdash;how
+conventional social stories have become. This
+very restraint in the matter of facts makes it the
+more necessary for a reporter to exercise his originality
+in the diction of social items. He must guard
+against the use of certain set expressions, like "officiating,"
+"performed the ceremony," and "solemnized."
+While restricted in the facts that he may
+give, he must try to present the same old facts in
+new and interesting ways&mdash;he may even resort to
+a moderate use of "fine writing," if he does not become
+florid or frivolous.</p>
+
+<p><b>6. Unusual Social Stories.</b>&mdash;Just as soon as any of
+these stories contains a feature that is of interest
+to the general public in an impersonal way it leaves
+the general class of social news and becomes a news
+story to be written with the usual lead. Even the
+presence of a very prominent name will make a
+news story out of a social item. For instance, the
+wedding of Miss Ethel Barrymore was written by
+many papers as a news story. On the other hand,
+an unusual marriage, an unusual elopement, or anything
+unusual and interesting in a wedding gives
+occasion for a news story. Here is one:</p>
+
+<div class="block">
+<p class="nt nb">Because their 15-year-old daughter,
+Sarah, married a man other than the
+one they had chosen, who is wealthy,<span class="pagenum"><a name="Page_214" id="Page_214">[214]</a></span>
+Mr. and Mrs. Markovits of 3128 Cedar
+street have gone into deep mourning,
+draped their home in crepe and announced
+to their friends that Sarah is
+dead.&mdash;<em>Philadelphia Ledger.</em></p>
+</div>
+
+<p class="noi">Or the story may be handled in a more humorous
+way, thus:</p>
+
+<div class="block">
+<p class="nt nb">There is really no objection to him,
+and she is quite a nice young woman,
+but to be married so young, and to go
+on a wedding journey with $18 in their
+purses&mdash;but Wallace Jones, student of
+the Western University, and Ruth
+Smith, student in the McKinley High
+School, decided it was too long a time
+to wait, and a nice old pastor gentleman
+in St. Joe has made them one.&mdash;<em>Milwaukee
+Free Press.</em></p>
+</div>
+
+<p><b>7. Obituaries.</b>&mdash;Like many other classes of newspaper
+stories, the obituary has developed a conventional
+form which is followed more or less rigidly
+by all the papers of the land. Every obituary follows
+the same order and tells the same sort of facts
+about its subject. It begins with a brief account of
+the deceased man's death, runs on through a very
+condensed account of the professional side of his
+life and ends with the announcement of his funeral
+or a list of his surviving relatives.</p>
+
+<p>The lead is concerned only with his death, answering<span class="pagenum"><a name="Page_215" id="Page_215">[215]</a></span>
+the usual questions about <em>where</em>, <em>how</em>, and <em>why</em>,
+and is written to stand alone if necessary. It ordinarily
+begins with the man's full name, because
+of course the name is the most important thing in
+the story, and then tells who he was and where he
+lived. This is followed, perhaps in the same sentence,
+by the time of his death, the cause, and perhaps
+the circumstances. Thus:</p>
+
+<div class="block">
+<p class="nt nb">CAMBRIDGE, Mass., Nov. 25.&mdash;Dr.
+John H. Blank, professor of Greek at
+Harvard since 1887 and dean of the
+Graduate School since 1895, died at his
+home in Quincy street today from heart
+trouble. Professor Blank was an authority
+on classical subjects.&mdash;<em>New
+York Tribune.</em></p>
+</div>
+
+<p>This, as you see, might stand alone and be complete
+in itself. Many obituaries, however, add another
+paragraph after the lead in which the circumstances
+of the death are discussed in greater detail.
+Here is the second paragraph of another obituary:</p>
+
+<div class="block">
+<p class="nt nb">At 8:30 tonight Mr. Blank was walking
+with his wife on the veranda of the
+Delmonte Hotel, when he suddenly
+gasped as if in great pain and fell to
+the floor. He was carried inside, but
+was dead before the physicians reached
+his bedside. Apoplexy is said to have
+been the cause.</p>
+</div>
+
+<p><span class="pagenum"><a name="Page_216" id="Page_216">[216]</a></span>
+Next comes the account of the deceased man's
+life. It is told very briefly and impersonally and
+concerns itself chiefly with the events of his business
+or professional activities. It is but a catalogue
+of his achievements and the dates of those achievements.
+These facts are usually obtained from the
+file of biographies&mdash;called the morgue&mdash;which most
+newspapers keep. The account first tells when and
+where he was born and perhaps who his parents
+were. Next his education is briefly discussed. Then
+the chief events of his professional or business life.
+The date of his marriage and the maiden name of
+his wife are included somewhere in or at the end
+of this account. Usually a list of the organizations
+of which the man was a member and a list of the
+books which he had written are attached to this account.
+One of the foregoing obituaries continues as
+follows:</p>
+
+<div class="block">
+<p class="nt nb">He was born in Urumiah, Persia, on
+February 4, 1852, being the son of the
+Rev. Austin H. Blank, a missionary.
+He was graduated from Dartmouth in
+1873, and that college awarded him the
+degrees of A. M. in 1876 and LL.D. in
+1901. From 1876 to 1878 he studied at
+Leipzig University. He was assistant
+professor of ancient languages at the
+Ohio Agricultural and Mechanical College
+from 1873 to 1876, associate professor
+of Greek at Dartmouth from<span class="pagenum"><a name="Page_217" id="Page_217">[217]</a></span>
+1878 to 1880, and dean of the collegiate
+board and professor of classical philology
+at Johns Hopkins in 1886 and
+1887. In 1906 and 1907 he served as
+professor in the American School of
+Classical Studies in Athens.</p>
+
+<p class="nt nb">(Then follows a list of the organizations
+of which he was a member and
+the periodicals with which he was connected.)</p>
+
+<p class="nt nb">He married Miss Mary Blank, daughter
+of the president of Blank College,
+in 1879, and she survives him.&mdash;<em>New
+York Tribune.</em></p>
+</div>
+
+<p>The obituary usually ends with a list of surviving
+relatives&mdash;especially children and very often the
+funeral arrangements are included. This is the last
+paragraph of another obituary:</p>
+
+<div class="block">
+<p class="nt nb">His first wife, Mary V. Blank, died
+in 1872. Three years later he married
+Mrs. Sarah A. Blank, of Hightstown,
+N. J., who with four daughters, survives
+him. The funeral will be held
+tomorrow at 11:30 o'clock. The burial
+will be in the family plot in Greenwood
+Cemetery.</p>
+</div>
+
+<p>This is the standard form of the obituary which
+is followed by most daily newspapers in fair-sized
+cities. The form is characterized by an extreme conciseness
+and brevity and an absolutely impersonal
+tone. Very rightly, an obituary is handled with a<span class="pagenum"><a name="Page_218" id="Page_218">[218]</a></span>
+sense of the sanctified character of its subject It
+offers no opportunity for fine writing or human interest;
+it simply gives the facts as briefly and impersonally
+as possible.</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_219" id="Page_219">[219]</a></span>
+<a name="xiv" id="xiv"></a>XIV<br />
+<br />
+<small>SPORTING NEWS</small></h2>
+
+
+<p>Division of labor on the larger American newspapers
+has made the reporting of athletic and sporting
+events into a separate department under a separate
+editor. The pink or green sporting sheets of
+the big papers have become separate little newspapers
+in themselves handled by a sporting editor
+and his staff and entirely devoted to athletic news,
+except when padded out with left-over stories from
+other pages. Although on smaller papers any reporter
+may be called upon to cover an athletic event,
+in the cities such news is handled entirely by experts
+who are thoroughly acquainted with all phases of
+the athletic sports about which they write. The
+stories on the pink sheet enjoy the greatest unconventionality
+of form to be seen anywhere in the
+paper except on the editorial page. And yet, because
+athletic reporters are usually men taken from
+regular reporting and because the same ideas and
+necessities of news values govern the sporting pages,<span class="pagenum"><a name="Page_220" id="Page_220">[220]</a></span>
+athletic stories follow, in general, the usual news
+story form.</p>
+
+<p>One may expect to find under the head of sports
+almost any news that is any way connected with college,
+amateur, or professional athletics. The stories
+include accounts of baseball and football games, rowing,
+horse racing, track meets, boxing, and many
+other forms of sport, as well as any discussions or
+movements growing out of these sports. Many of
+the stories are only a few lines in length while others
+may cover a column or more. But in general each
+one has a lead which answers the questions <em>when?</em>
+<em>where?</em> <em>how?</em> <em>who?</em> and <em>why?</em> and runs along much
+like an ordinary news story. For, after all, even
+athletic stories are written to attract and to hold
+the reader's interest whether or not he is directly
+interested in the sport under discussion. Any reporter
+who is called upon to cover an athletic event
+is safe in writing his story in the usual news story
+form.</p>
+
+<p>As it would be impossible to discuss all the various
+stories that come under the head of athletic news,
+the reporting of college football games will be taken
+as typical of the others. The rules that are suggested
+for the reporting of football games may be
+applied to baseball games, track meets, and other
+sporting events. The same principles govern all<span class="pagenum"><a name="Page_221" id="Page_221">[221]</a></span>
+of them and the stories usually summarize results
+in about the same way. Football stories may be
+divided into three general classes: the brief summary
+story of a stickful or a trifle more; the
+usual football story of a half column or less; and
+the long story that may be run through a column
+or more, depending upon the importance of the
+game.</p>
+
+<p>All three of these stories are alike in the
+general facts which they contain; they differ only
+in the number of minor details which they include
+in the elaboration of these general facts. Each one
+tells in the first sentence what teams were competing,
+the final score, when and where the game was played,
+and perhaps some striking feature of the game&mdash;the
+weather, the conditions of the field, the star players,
+or a sensational score. After that, with more or less
+expansion, each of the stories gives the essential
+things that the reader wants to know about the
+game. These consist usually of the way in which the
+scoring was done, a comparison of the playing of the
+teams, a list of the star players, the weather conditions,
+and the crowd. If the writing of the story
+includes a discussion of each of these points in more
+or less detail, the game will be covered in all of its
+essential phases. The three kinds of stories differ,
+from one another, not in the facts that they include,<span class="pagenum"><a name="Page_222" id="Page_222">[222]</a></span>
+but in the length at which they expand upon these
+facts. One rule should be noted in the writing of all
+these stories or of any athletic story&mdash;avoid superlatives.
+To a green reporter almost every game seems
+to be "the most spectacular," "the most thrilling,"
+"the hardest fought," "the most closely matched,"
+but a broad experience is necessary to defend the
+use of any superlative about the game.</p>
+
+<p><b>1. The Brief Summary Story.</b>&mdash;This is the little
+story of a stickful or less, which merely announces
+the result of some distant or unimportant game.
+Taken in its shortest form it gives only the names
+of the teams, the score, the time and place of the
+game, and perhaps a word or two of general characterization.
+As it is allowed to expand in length it
+takes up as briefly as possible the following facts
+in the order in which they are given: the scoring,
+the comparison of play, the star players or plays.
+It is a mere announcement of the result of the game
+and no more, for that is all the reader wants. The
+line-ups and other tables are usually omitted, and
+nothing is included that goes beyond this narrow
+purpose. Here are a few examples:</p>
+
+<div class="block">
+<p class="nt nb">IOWA CITY, Ia., Nov. 25.&mdash;Sensational
+end runs by McGinnis and Curry
+near the end of the final quarter of
+play gave Iowa a 6-to-0 victory over
+Northwestern here this afternoon.<span class="pagenum"><a name="Page_223" id="Page_223">[223]</a></span></p>
+
+<p class="nt nb">Fort Atkinson High School defeated
+Madison High today in the final moments
+of play when a punt by Davy,
+fullback for Madison, was blocked and
+the ball recovered behind the line, giving
+Fort Atkinson the game, 2 to 0.</p>
+</div>
+
+<div class="block">
+<p class="nt nb">INDIANAPOLIS, June 3.&mdash;Indianapolis
+started its at-home series today by
+defeating Kansas City, 3 to 2. Robertson
+was in fine form, striking out five
+men, permitting no one to walk and
+allowing only six hits. Score: (Tables.)</p>
+</div>
+
+<div class="block">
+<p class="nt nb">LAFAYETTE, Ind., June 1.&mdash;With
+the score 41 1-3 points, athletes representing
+the University of California won
+the twelfth annual meet of the Western
+Intercollegiate Athletic Conference
+Association today.</p>
+
+<p class="nt nb">Missouri was second with 29 1-3
+points, Illinois third with 26, Chicago
+fourth with 15 and Wisconsin fifth with
+12 1-2.</p>
+</div>
+
+<p><b>2. The Usual Football Story.</b>&mdash;The usual report
+of a game is a story of a half column or less which
+is longer than the brief summary story and not so
+detailed as the long football story. This is the story
+that a correspondent would usually send to his paper.
+It is like them both in the facts that it includes and
+differs only in length and in manner of treatment.
+This story is usually divided into two parts: the
+introduction and the running account. The introduction,<span class="pagenum"><a name="Page_224" id="Page_224">[224]</a></span>
+or lead, is very much like the brief summary
+story; in fact, the entire brief summary story
+might be used as the introduction of a story of this
+type. The second part, the running account, corresponds
+to the running account of the game as it
+will be taken up with the long football story.</p>
+
+<p>The introduction of the usual athletic story
+always contains certain facts. The first sentence,
+corresponding to the lead of a news story, always
+gives the names of the teams, the score, the time,
+the place, and the most striking feature of the game.
+After this the plays that resulted in scores are described
+and the star plays or players are enumerated.
+Usually a comparison of the two teams, as to weight,
+speed, and playing, follows, and the opinion of the
+captain or of some coach may be included. The rest
+of the introduction may be devoted to the picturesque
+side of the game: the crowd, the cheering, the
+celebration, etc. All of this must be told briefly in
+200 words or less. The introduction is simply the
+brief summary story slightly expanded. Here is a
+fair example (the paragraph containing the scoring
+has been omitted):</p>
+
+<div class="block">
+<p class="nt nb">Purdue triumphed over Indiana today,
+12 to 5, recording the first victory
+for the Boilermakers over the Crimson
+in five years.<span class="pagenum"><a name="Page_225" id="Page_225">[225]</a></span></p>
+
+<p class="nt nb">(Omitted paragraph on scoring belongs
+here.)</p>
+
+<p class="nt nb">Purdue played a great game at all
+times. Oliphant, right half-back on the
+Boilermaker eleven, played remarkably
+well and was the hardest man for the
+locals to handle. Baugh, Miller, Winston
+and Capt. Tavey also starred for
+Coach Hoit's men.</p>
+
+<p class="nt nb">The Lafayette rooters, 1,500 strong,
+rushed on the field at the close of the
+struggle and carried their players off
+the field.</p>
+</div>
+
+<p>This is ordinarily followed by a brief running
+account of the game. It does not attempt to follow
+every play or to trace the course of the ball throughout
+the entire game, as a complete running account
+would do. It is usually made from the detailed running
+account by a process of elimination so that
+nothing but the "high spots" of the game is left.
+Such an account may run from 200 to 300 words in
+length. At the end tables are usually printed to
+give the line-up and the tabulated results of the
+game, but these may sometimes be omitted. The
+following is an extract from a condensed running
+account:</p>
+
+<div class="block">
+<p class="nt nb">Again the cadets fought their way
+to the 10-yard line, runs by Rose and
+Patterson helping materially, but again
+Wayland held. The half ended after
+Wayland had kicked out of danger.<span class="pagenum"><a name="Page_226" id="Page_226">[226]</a></span></p>
+
+<p class="nt nb">In the second half St. John's outplayed
+Wayland throughout. The cadets
+by a succession of line plunges
+took the ball within striking distance
+several times, only to be held for downs
+or lose it on a fumble.</p>
+
+<p class="nt nb">Patterson electrified the crowd just
+before the third quarter ended by twice
+dodging through for 20-yard runs, placing
+the ball on the 15-yard line, where
+the cadets were held for downs.</p>
+</div>
+
+<p><b>3. Long Football Story.</b>&mdash;The third class of football
+story is the long detailed account. This is all
+that is left of the elaborate write-ups of the season's
+big games that were printed a few years ago and
+may be seen occasionally now. Ten or twenty years
+ago it was not unusual for an editor to run several
+pages, profusely illustrated, on a big eastern football
+game. The story was written up from every
+possible aspect&mdash;athletic, social, picturesque, etc.
+Every play was described in detail and sometimes
+a graphic diagram of the play was inserted. Each
+phase was handled by a different reporter and the
+whole thing was given a prominence in the paper
+out of all proportion with its real importance. Such
+a treatment of athletic news has now been very
+largely discarded.</p>
+
+<p>The outgrowth of this elaborate treatment is the
+common one- or two-column account in the pink or<span class="pagenum"><a name="Page_227" id="Page_227">[227]</a></span>
+green sporting pages. All of the various aspects
+of the big game are still to be seen, condensed to
+the smallest amount of space; and this brief account
+of the different aspects of the game is arranged as
+an introduction of a half column or less to head the
+running account of the game. This is the sort of
+story that is used to report the Yale-Harvard games
+and the more important middle western games. Its
+form has become very definitely settled and a correspondent
+can almost write his story of the big
+game by rule.</p>
+
+<p>The first part of the story, called the introduction,
+consists of five or six general paragraphs. The material
+in this introduction is arranged, paragraph by
+paragraph, in the order of its importance. Following
+this is a running account of the game which
+may occupy a column or more, depending upon the
+importance of the contest. At the end is a table
+showing the line-up and a summary of the results.</p>
+
+<p>The introduction of the big football or baseball
+story usually follows a very definite order. There
+are certain things which it must always contain:
+the result of the game; how the scoring was done;
+a characterization of the playing; the stars; the condition
+of the weather and the field; the crowd; etc.
+The reader always wishes to know these things
+about the game even if he does not care to read the<span class="pagenum"><a name="Page_228" id="Page_228">[228]</a></span>
+running account. It is equally evident that the
+scoring is of greater interest than the crowd, and
+that a comparison of the teams is more important
+than the cheering. And so a reporter may almost
+follow a stereotyped outline in writing his account.
+A possible outline would be something like this:</p>
+
+<p class="hang">First Paragraph.&mdash;The names of the teams, the
+score, when and where the game was played, and
+perhaps some striking feature of the game. The
+weather may have been a significant factor, or
+the condition of the field; the crowd may have
+been exceptionally large or small, enthusiastic or
+uninterested; or the game may have decided a
+championship; some star may have been unusually
+prominent, or the scoring may have been done
+in an extraordinary way. Any of these factors,
+if of sufficient significance, would be played up in
+the first line just as the feature of an ordinary
+news story is played up. This paragraph corresponds
+to the lead of a news story and is so
+written. For example:</p>
+
+<div class="block">
+<p class="nt nb">Playing ankle-deep in mud before a
+wildly enthusiastic gathering of football
+rooters, the gridiron warriors of
+Siwash College defeated the Tigers this
+afternoon on Siwash athletic field by the
+score of 5 to 0.</p>
+</div>
+
+<p class="hang">Second Paragraph.&mdash;Here the reporter usually tells
+how the scoring was done, what players made
+the scores, and how.<span class="pagenum"><a name="Page_229" id="Page_229">[229]</a></span></p>
+
+<p class="hang">Third Paragraph.&mdash;The next thing of importance
+is a comparison of the two teams. The reader
+wants to know how they compared in weight,
+speed, and skill, and how each one rose to the
+fight. A general characterization of the playing
+or a criticism may not be out of place here.</p>
+
+<p class="hang">Fourth Paragraph.&mdash;Now we are ready to tell about
+the individual players. Our readers want to know
+who the stars were and how they starred.</p>
+
+<p class="hang">Fifth Paragraph.&mdash;This brings us down near the
+tag end of the introduction. Very often this
+paragraph is devoted to the opinions of the captains
+and coaches on the game. Their statements,
+if significant, may be boxed and run anywhere
+in the report.</p>
+
+<p class="hang">Sixth Paragraph.&mdash;The picturesque and social side
+of the game comes in here. The size of the crowd,
+the enthusiasm, the celebration between halves
+or before or after the game, are usually told.
+This material may be of enough importance to
+occupy several paragraphs, but the reporter must
+always remember that he is writing a sporting
+account and not a picturesque description of a
+social event.</p>
+
+<p class="hang">Seventh Paragraph.&mdash;This paragraph usually begins
+the running account of the game.</p>
+
+<hr class="hr6" />
+
+<p class="hang">N-th Paragraph.&mdash;This space at the end of the
+entire report is given to the line-ups and tabulated
+results of the game.</p>
+
+<p><span class="pagenum"><a name="Page_230" id="Page_230">[230]</a></span>
+This arrangement may of course be varied, and
+any of the foregoing factors of the game may be
+of sufficient importance to be placed earlier in the
+story. Never, however, should the various factors
+be mixed together heterogeneously and written in
+a confused mass. Each element must be taken up
+separately and occupy a paragraph by itself.</p>
+
+<p>The running account of the game, which follows
+the introduction, requires little rhetorical skill.
+Each play is described in its proper place and order
+and should be so clear that a reader could make a
+diagram of the game from it. It must also be accurate
+in names and distances as well as in plays.</p>
+
+<p>Probably every individual sporting correspondent
+has a different way of distinguishing the players
+and the plays and of writing his running account.
+It is not an easy matter to watch a game from the
+press stand far up in the bleachers and be able to
+tell who has the ball in each play and how many
+yards were gained or lost. Familiarity with the teams
+and the individual players makes the task easier
+but few reporters are so favored by circumstances.
+They must get the names from the cheering or from
+other reporters about them unless they have some
+method of their own.</p>
+
+<p>There is one method that may be followed with
+some success. Before the game the reporter equips<span class="pagenum"><a name="Page_231" id="Page_231">[231]</a></span>
+himself with a table of the players showing them
+in their respective places as the two teams line up.
+It is usually impossible to tell who has the ball during
+any single play because the eye cannot follow
+the rapid passing, but it is always possible to tell
+who has the ball when it is downed. At the end of
+each play as the players line up, the reporter keeps
+his eye on the man who had the ball when it was
+downed and watches to see the position he takes
+in the new line-up. Then a glance at the table will
+tell him the man's name.</p>
+
+<p>The running account is written as simply and
+briefly as possible. It follows each play, telling
+what play was made, who had the ball, and what the
+result was. It keeps a record of all the time taken
+out, the changes in players, the injuries, etc. A
+typical running account reads something like this:</p>
+
+<div class="block">
+<p class="nt nb">Siwash advanced the ball two yards
+by a line plunge. Kelley carried the ball
+around left end for five yards to the
+Tigers' 50-yard line. The Tigers gained
+the ball on a fumble after a fake punt
+and lined up on their own 45-yard line.
+Time called. Score at end of first half,
+0 to 0.</p>
+</div>
+
+<p>At the end of the running account are tables, usually
+set in smaller type, giving the line-up of the<span class="pagenum"><a name="Page_232" id="Page_232">[232]</a></span>
+two teams and the tabulated results of the game.
+Some papers arrange the tables as follows:</p>
+
+<div class="block">
+<table class="sport" summary="Sport table">
+<tr>
+<td class="nt nb tdleft">Siwash:</td>
+<td class="nt nb tdright" colspan="2">Tigers:</td>
+</tr>
+<tr>
+<td class="nt nb tdleft">Smith.............</td>
+<td class="nt nb tdcen">left end</td>
+<td class="nt nb tdright">...............Jones</td>
+</tr>
+<tr>
+<td class="nt nb tdleft">Brown............</td>
+<td class="nt nb tdcen">left tackle</td>
+<td class="nt nb tdright">....Green-Wood</td>
+</tr>
+<tr>
+<td class="nt nb tdleft">McCarthy.......</td>
+<td class="nt nb tdcen">left guard</td>
+<td class="nt nb tdright">.............Connor</td>
+</tr>
+<tr>
+<td class="nt nb tdleft">Hall (Capt.)....</td>
+<td class="nt nb tdcen">centre</td>
+<td class="nt nb tdright">..............Jacobs</td>
+</tr>
+</table>
+<p class="nt nb">Etc.</p>
+</div>
+
+<p class="noi">Other papers use this system which brings the opposing
+players together:</p>
+
+<div class="block">
+<table class="sport" summary="Sport table">
+<tr>
+<td class="nt nb tdleft">Siwash:</td>
+<td class="nt nb tdright" colspan="2">Tigers:</td>
+</tr>
+<tr>
+<td class="nt nb tdleft">l. e..............Smith</td>
+<td class="nt nb tdcen">:</td>
+<td class="nt nb tdright">Williams............r. e.</td>
+</tr>
+<tr>
+<td class="nt nb tdleft">l. t..............Brown</td>
+<td class="nt nb tdcen">:</td>
+<td class="nt nb tdright">Jackson.............r. t.</td>
+</tr>
+<tr>
+<td class="nt nb tdleft">l. g........McCarthy</td>
+<td class="nt nb tdcen">:</td>
+<td class="nt nb tdright">Cook (Capt.).....r. g.</td>
+</tr>
+<tr>
+<td class="nt nb tdleft">c........(Capt.) Hall</td>
+<td class="nt nb tdcen">:</td>
+<td class="nt nb tdright">Jacobs.................c.</td>
+</tr>
+</table>
+<p class="nt nb">Etc.</p>
+</div>
+
+<p class="noi">The tabulated results at the end may be something
+like this:</p>
+
+<div class="block">
+<p class="nt nb">Score by periods:</p>
+<table class="sport" summary="Sport table">
+<tr>
+<td class="nt nb tdleft">Tigers............................</td>
+<td class="nt nb tdright">0&emsp;2&emsp;1&emsp;3&mdash;6</td>
+</tr>
+<tr>
+<td class="tdleft">Siwash...........................</td>
+<td class="tdright">0&emsp;0&emsp;0&emsp;0&mdash;0</td>
+</tr>
+</table>
+<p class="nt nb">Touchdown&mdash;Brown. Goal from touchdown&mdash;O'Brien.
+Umpire&mdash;Enslley, Purdue. Referee&mdash;Holt,
+Lehigh. Field judge&mdash;Hackensaa, Chicago. Head
+linesman&mdash;Seymour, Delaware. Time of periods&mdash;fifteen
+minutes.</p>
+</div>
+
+<p class="noi">Dispatches and stories on baseball games and track
+meets are usually accompanied by tables of results,
+similar to the above but arranged in a slightly different
+way. The form may be learned from any
+reputable sporting sheet.</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_233" id="Page_233">[233]</a></span>
+<a name="xv" id="xv"></a>XV<br />
+<br />
+<small>HUMAN INTEREST STORIES</small></h2>
+
+
+<p>In our study of newspaper writing up to this
+point we have been entirely concerned with forms,
+rules, and formulas; every kind of story which we
+have studied has had a definite form which we have
+been charged to follow. We have been commanded
+always to put the gist of the story in the first sentence
+and to answer the reader's customary questions
+in the same breath. Now we have come to a class
+of newspaper stories in which we are given absolute
+freedom from conventional formulas. In fact, the
+human interest story is different from other newspaper
+stories largely because of its lack of forms
+and rules. It does not begin with the gist of its
+news&mdash;perhaps because it rarely has any real news&mdash;and
+it answers no customary questions in the first
+paragraph; its method is the natural order of narrative.
+The human interest story stands alone as
+the only literary attempt in the entire newspaper
+and, as such, a discussion of it can hardly tell more<span class="pagenum"><a name="Page_234" id="Page_234">[234]</a></span>
+than what it is, without any great attempt to tell
+how to write it. For our purposes, the distinguishing
+marks of the human interest story are its lack
+of real news value and of conventional form, and
+its appeal to human emotions.</p>
+
+<p>The human interest story has grown out of a
+number of causes. Up to a very recent time newspapers
+have been content with printing news in its
+barest possible form&mdash;facts and nothing but facts.
+Their appeal has been only to the brain. But gradually
+editors have come to realize that, if many
+monthly magazines can exist on a diet of fiction
+that appeals only to the emotions, a newspaper may
+well make use of some of the material for true
+stories of emotion that comes to its office. They
+have realized that newsiness is not the only essential,
+that a story does not always have to possess true
+news value to be worth printing&mdash;it may be interesting
+because it appeals to the reader's sympathy
+or simply because it entertains him. Hence they
+began to print stories that had little value as news
+but, however trivial their subject, were so well written
+that they presented the humor and pathos of
+everyday life in a very entertaining way. The sensational
+newspapers took advantage of the opportunity
+but they shocked their readers in that they
+tried to appeal to the emotions through the kind of<span class="pagenum"><a name="Page_235" id="Page_235">[235]</a></span>
+facts that they printed, rather than through the
+presentation of the facts. They did not see that the
+effectiveness of the emotional appeal depends upon
+the way in which a human interest story is written,
+rather than upon the story itself. Therefore they
+shocked their readers with extremely pathetic facts
+presented in the usual newspaper way, while the
+journals which stood for high literary excellence
+were able to handle trivial human interest material
+very effectively. Now all the newspapers of the
+land have learned the form and are printing effective
+human interest stories every day.</p>
+
+<p>Another reason behind the growth of the human
+interest story is the curse of cynicism which newspaper
+work imprints upon so many of its followers.
+Every editor knows that no ordinary reporter can
+work a police court or hospital run day after day
+for any length of time without losing his sensibilities
+and becoming hardened to the sterner facts in
+human life. Misfortune and bitterness become so
+common to him that he no longer looks upon them
+as misfortune and misery, but just as news. Gradually
+his stories lose all sympathy and kindliness
+and he writes of suffering men as of so many wooden
+ten-pins. When he has reached this attitude of cynicism,
+his usefulness to his paper is almost gone, for
+a reporter must always see and write the news from<span class="pagenum"><a name="Page_236" id="Page_236">[236]</a></span>
+the reader's sympathetic point of view. To keep
+their reporters' sensibilities awake editors have tried
+various expedients which have been more or less
+successful. One of these is the "up-lift run" for cub
+reporters&mdash;a round of philanthropic news sources to
+teach them the business of reporting before they become
+cynical. Another is the human interest story.
+If a reporter knows that his paper is always ready
+and glad to print human interest stories full of
+kindliness and human sympathy, he is ever on the
+watch for human interest subjects and consequently
+forces himself to see things in a sympathetic way.
+Thus he unconsciously wards off cynicism. The
+search for human interest material is a modification
+of the "sob squad" work of the sensational papers,
+on more delicate lines.</p>
+
+<p>A human interest story is primarily an attempt
+to portray human feeling&mdash;to talk about men as men
+and not as names or things. It is an attempt to look
+upon life with sympathetic human eyes and to put
+living people into the reports of the day's news. If
+a man falls and breaks his neck, a bald recital of
+the facts deals with him only as an animal or an
+inanimate name. The fact is interesting as one
+item in the list of human misfortunes, but no more.
+And yet there are many people to whom this man's
+accident is more than an interesting incident&mdash;it<span class="pagenum"><a name="Page_237" id="Page_237">[237]</a></span>
+is a very serious matter, perhaps a calamity. To
+his family he was everything in the world; more
+than a mere means of support, he was a living human
+being whom they loved. The bald report of
+his death does not consider them; it does not consider
+the man's own previous existence. But if we
+could get into the hearts of his wife and his mother
+and his children, we could feel something of the
+real significance of the accident. This is what the
+human interest story tries to do. It does not necessarily
+strive for any effect, pathetic or otherwise,
+but tries simply to treat the victim of the misfortune
+as a human being. The reporter endeavors to
+see what in the story made people cry and then tries
+to reproduce it. In the same way in another minor
+occurrence, he attempts to reproduce the side of an
+incident that made people laugh. Either incident
+may or may not have had news value in its baldest
+aspect, but the sympathetic treatment makes the resulting
+human interest story worth printing.</p>
+
+<p>There are various kinds of human interest stories.
+The common ground in them all is usually
+their lack of any intrinsic news value. Many a
+successful human interest story has been printed
+although it contained no one of the elements of
+news values that were outlined earlier in this book.
+In fact, one of the uses of the human interest story<span class="pagenum"><a name="Page_238" id="Page_238">[238]</a></span>
+is to utilize newspaper by-products that have no news
+value in themselves. Hence the human interest
+story has no news feature to be played up and,
+since it does not contain any real news, it does
+not have to answer any customary questions. In
+form it is much like a short story of fiction, since
+it depends on style and the ordinary rules of narration.
+The absence of a lead, more than any other
+characteristic, distinguishes the human interest story
+from the news story, in form. We have worked
+hard to learn to play up the gist of the news in our
+news stories; now we come to a story which makes
+no attempt to play up its news&mdash;in fact, it may leave
+its most interesting content until the end and spring
+it as a surprise in the last line. To be sure, most
+human interest stories have and indicate a timeliness.
+The story may have no news value but it is
+always concerned with a recent event and usually
+tells at the outset when the event occurred. Almost
+without exception, the examples quoted in this chapter
+show their timeliness by telling in the first sentence
+when the event occurred. So much for the
+outward form of the human interest story.</p>
+
+<p><b>1. Pathetic Story.</b>&mdash;One of the many kinds of human
+interest stories is the pathetic story. Although
+it does not openly strive for pathos, it is pathetic
+in that it tells the story of a human misfortune, simply<span class="pagenum"><a name="Page_239" id="Page_239">[239]</a></span>
+and clearly, with all the details that made the
+incident sad. It is the story that attempts to put
+the reader into the very reality of the pain and sorrow
+of every human life. Sometimes it makes him
+cry, sometimes it makes him shudder, and sometimes
+it disgusts him, but it always shows him misfortune
+as it really is. It looks down behind the outward
+actions and words into the hearts of its actors and
+shows us motives and feelings rather than facts.
+But just as soon as any attempt at pathos becomes
+evident, the story loses its effectiveness. Its only
+means are clear perception and absolute truthfulness.
+Here is an example of a pathetic human interest
+story taken from a daily paper:</p>
+
+<div class="block">
+<p class="nt nb">Rissa Sachs' child mind yesterday
+evolved a tragic answer to the question,
+"What shall be done with the children
+of divorced parents?"</p>
+
+<p class="nt nb">She took her life.</p>
+
+<p class="nt nb">Rissa was 14 years old. The divorce
+decree that robbed her of a home was
+less than a week old. It was granted
+to her mother, Mrs. Mellisa Sachs, by
+Judge Brentano last Saturday.</p>
+
+<p class="nt nb">When the divorce case was called for
+trial Rissa found that she would be compelled
+to testify. Reluctantly she corroborated
+her mother's story that her
+father, Benjamin Sachs, had struck Mrs.
+Sachs. It was largely due to this testimony
+that the decree was granted and<span class="pagenum"><a name="Page_240" id="Page_240">[240]</a></span>
+the custody of the child awarded to Mrs.
+Sachs.</p>
+
+<p class="nt nb">Then the troubles of the girl began
+in real earnest. She loved her mother
+dearly. But her father, who had been
+a companion to her as well as a parent,
+was equally dear to her.</p>
+
+<p class="nt nb">Both parents pleaded with her. Mrs.
+Sachs told Rissa she could not live
+without her. The father told the girl,
+in a conversation in a downtown hotel
+several days ago, that he would disown
+her unless she went to live with him.</p>
+
+<p class="nt nb">Every hour increased the perplexities
+of the situation for the child. She could
+not decide to give up either of her parents
+for fear of offending the other.
+So she sacrificed her own life and gave
+up both.</p>
+
+<p class="nt nb">Thursday evening, on returning from
+school to the Sachs home at 4529 Racine
+avenue, Rissa talked long and earnestly
+with her mother. Then she retired
+to her room, turned on the gas and,
+clothed, lay down upon her bed to await
+death and relief from troubles that have
+driven older heads to despair.</p>
+
+<p class="nt nb">At the inquest yesterday afternoon
+the grief-stricken mother told the story
+of her daughter's difficulties. She said
+that Rissa had declared she could not
+live if compelled to give up either of
+her parents, but added that she never
+had believed it.&mdash;<em>Chicago Record-Herald.</em></p>
+</div>
+
+<p><span class="pagenum"><a name="Page_241" id="Page_241">[241]</a></span>
+This is a pathetic human interest story in that
+it attempts to give the human significance of an incident
+which in itself would have little news value.
+Perhaps, in the matter of words, there is a slight
+straining for pathos. The form, it will be noted,
+is decidedly different from that of a news story on
+the same incident and, although the timeliness is
+given in the first line, there is no attempt to present
+the gist of the story in a formal lead. The source
+of the news is indicated in the last paragraph.</p>
+
+<p><b>2. Humorous Story.</b>&mdash;Another kind of human interest
+story is the humorous story. Its humor, like
+the pathos of a pathetic story, does not come from
+an attempt to be funny, but from the truthful presentation
+of a humorous incident, from the incongruity
+and ludicrousness of the incident itself. The
+writer tries to see what elements in a given incident
+made him laugh and then portrays them so clearly
+and truthfully that his readers cannot help laughing
+with him. The subject may be the most trivial
+thing in the world, not worth a line as a news story,
+and yet it may be told in such a way that it is worth
+a half-column write-up that will stand out as the
+gem of the whole edition. But after all the effectiveness
+depends upon the humor in the original subject
+and the truthfulness of the telling. The following<span class="pagenum"><a name="Page_242" id="Page_242">[242]</a></span>
+humorous human interest story, which occupied
+a place on the front page, was built up out of an
+incident almost devoid of news value:</p>
+
+<div class="block">
+<p class="nt nb">One of Johnnie Wilt's original ideas
+for entertaining his twin sister Charlotte
+is to build a big bonfire on the floor of
+their playroom.</p>
+
+<p class="nt nb">Johnnie, who is 4 years old, carried
+his plan into execution at the Wilt
+home, 2474 Lake View avenue, for the
+first time yesterday afternoon, with results
+that made a lasting impression
+upon his mind and the finishings of the
+interior of the house.</p>
+
+<p class="nt nb">The thing was suggested to him by a
+bonfire he saw a man build in the street.
+Charlotte hadn't seen the other fire.
+For some reason Charlotte's feminine
+mind refused to understand just what
+the fire was like.</p>
+
+<p class="nt nb">Consequently nothing remained for
+Johnnie to do but build a fire of his
+own. He piled all of the newspapers
+and playthings that could be found in
+the middle of the room and then applied
+a match.</p>
+
+<p class="nt nb">When the flames leaped to the ceiling,
+however, and a cloud of smoke filled
+the room, Johnnie began to doubt the
+wisdom of the move. While Charlotte
+ran to tell a maid he retreated to that
+haven of youthful fugitives&mdash;the space
+beneath a couch.</p>
+
+<p class="nt nb">The frightened maid summoned the
+fire engines and the fire was soon extinguished.<span class="pagenum"><a name="Page_243" id="Page_243">[243]</a></span>
+But Mrs. Wilt discovered
+that Johnnie had disappeared. She telephoned
+to Charles T. Wilt, president
+of the trunk company that bears his
+name, and half hysterically told of the
+fire and the disappearance of Johnnie.</p>
+
+<p class="nt nb">Just then there was a scrambling
+sound from beneath the couch. Johnnie,
+looking as serious as a 4-year-old
+face can look, walked out.</p>
+
+<p class="nt nb">Mrs. Wilt seized him and, to an accompaniment
+of "I-won't-do-it-agains,"
+crushed him to her bosom. Last reports
+from the Wilt home were that Johnnie
+had not yet been punished for his deed.&mdash;<em>Chicago
+Record-Herald.</em></p>
+</div>
+
+<p>The student will notice how all the facts of the
+story and the answers to the reader's questions are
+worked in here and there, how the content of a
+news story lead is scattered throughout the entire
+account.</p>
+
+<p><b>3. Writing the Human Interest Story.</b>&mdash;It is one
+thing to be able to distinguish material for a human
+interest story and another to be able to write the
+story. The whole effectiveness of the story, as we
+have seen, depends upon the way it is written.
+Many a poorly written, ungrammatical news story is
+printed simply because it contains facts that are of
+interest, regardless of the way in which they are presented.
+But never is a poorly written human interest
+story printed; simply because the facts in it have<span class="pagenum"><a name="Page_244" id="Page_244">[244]</a></span>
+little interest themselves and the story's usefulness
+depends entirely upon the presentation of the facts.
+Hence, the human interest story, more than any
+other newspaper story, must be well written. And
+yet there are no rules to assist in the writing of such
+a story. In fact, its very nature depends upon originality
+and newness in form and treatment.</p>
+
+<p>In the first place, we cannot fall back upon the
+conventional lead for a beginning, because a lead
+would be out of place. As we have said before, the
+human interest story does not begin with a lead for
+the reason that it has no striking news content to
+present in the lead. In many cases the whole story
+depends upon cleverly arranged suspense; if the
+content is given in a lead at the beginning suspense
+is of course impossible. The human interest story
+has no more need of a lead than does a short story&mdash;in
+some ways a human interest story is very much
+like a short story&mdash;and a short story that gives its
+climax in the first paragraph would hardly be written
+or read. But, just like the short story, a human
+interest story must begin in an attractive way. In
+the study of short story writing almost half of the
+study is devoted to learning how to begin the story,
+on the theory that the reader is some sort of a fugitive
+animal that must be lassoed by an attractive and
+interesting beginning. The theory is of course a<span class="pagenum"><a name="Page_245" id="Page_245">[245]</a></span>
+true one and it holds good in the case of human
+interest stories.</p>
+
+<p>But no rules can be laid down to govern the beginning
+of human interest or short stories. Each
+story must begin in its own way&mdash;and each must
+begin in a different way. Some writers of short
+stories begin with dialogue, others with a clean-cut
+witticism, others with attractive explanation or description,
+others with a clever apology. The list is
+endless. This endless list is ready for the reporter
+who is trying to write human interest stories. But
+the choosing must be his own. He must select the
+beginning that seems best adapted to his story. As
+an inspiration to reporters who are trying to write
+human interest stories, a few beginnings clipped
+from daily papers are given here. Some are good
+and some are bad; the goodness or badness in each
+case depends upon individual taste. They can
+hardly be classified in more than a general way for
+originality is opposed to all classifications. They
+are merely suggestions.</p>
+
+<p>A striking quotation or a bit of apt dialogue is
+commonly used to attract attention to a story. Here
+are some examples:</p>
+
+<div class="block">
+<p class="nt nb">"Burglars," whispered Mrs. Vermilye
+to herself and she took another furtive
+peek out of the windows of her rooms
+on the sixth floor of the, etc.</p>
+</div>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_246" id="Page_246">[246]</a></span>
+"Speaking of peanuts," observed the
+man with the red whiskers, "they ain't
+the only thing in the world what is
+small." Etc.</p>
+</div>
+
+<div class="block">
+<p class="nt nb">"Ales, Wines, Liquors and Cigars!"
+You see this sign in the windows of
+every corner life-saving station. But
+what would you say if you saw it blazing
+over the entrance to the Colony
+Club, that rendezvous for the little and
+big sisters of the rich at Madison avenue
+and Thirtieth street? Etc.</p>
+</div>
+
+<div class="box nt b1">
+<p class="noi nb s">WANTED&mdash;Bright educated lady as secretary
+to business man touring northwest states
+and Alaska: give reference, ability; age, description.
+Address E-640, care Bee.</p>
+<p class="noi nt nb s r">(7)-680 19x.</p>
+</div>
+<div class="block nt">
+<p class="nt nb">The above innocent appearing want
+ad in <em>The Bee</em>, although alluring in its
+prospects to a young woman desiring a
+summer vacation, is the principal factor
+in the arrest of one M. W. Williams, etc.</p>
+</div>
+
+<p class="noi">A well-written first sentence in a human interest
+story often purports to tell the whole story, like a
+news story lead, and really tells only enough to make
+you want to read further. Here are a few examples:</p>
+
+<div class="block">
+<p class="nt nb">His son's suspicions and a can opener
+convinced Andrew Sherrer last Saturday
+that he had been fleeced out of
+$500 by two clever manipulators of an
+ancient "get-something-for-nothing"
+swindle. So strong was the victim's
+confidence, etc.</p>
+</div>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_247" id="Page_247">[247]</a></span>
+There's a stubborn, unlaid ghost, a
+gnome, a goblin, a swart fairy at the
+least, who has settled down for the
+winter in a perfectly respectable cellar
+over in Brooklyn and whiles away the
+dismal hours of the night by chopping
+spectral cordwood with a phantom axe.
+Instead of going to board with Mrs.
+Pepper or another medium and being of
+some use in the world and having a
+pleasant, dim-lighted cabinet all its own,
+this unhappy ghost&mdash;or ghostess&mdash;is pestering
+Marciana Rose of 1496 Bergen
+street, who owns the cellar and the
+house over it&mdash;over both the ghost and
+the cellar. Etc.</p>
+</div>
+
+<div class="block">
+<p class="nt nb">The gowk who calls up 3732 Rector
+today will get a splinter in his finger if
+he scratches his head. Nothing doing
+with 3732 Rector. From early morn
+till dewy eve Mr. Fish, Mr. C. Horse,
+Mr. Bass, Mr. Skate and other inmates
+of the aquarium will be inaccessible by
+'phone. Etc.</p>
+</div>
+
+<div class="block">
+<p class="nt nb">Under all the saffron banners and the
+sprawling dragons clawing at red suns
+over the roofs of Chinatown yesterday
+there was a tension of unrest and of
+speculation. It all had to do with the
+luncheon to be given to his Imperial
+Highness Prince Tsai Tao and the
+members of his staff at the Tuxedo Restaurant,
+2 Doyers street, at noon to-morrow.
+Etc.</p>
+</div>
+
+<div class="block">
+<p class="nt nb"><span class="pagenum"><a name="Page_248" id="Page_248">[248]</a></span>
+Man and wife, sitting side by side as
+pupils, was the interesting spectacle
+which provided the feature of the elementary
+night school opening last night.
+Etc.</p>
+</div>
+
+<div class="block">
+<p class="nt nb">Two young Germans of Berlin,
+neither quite 18 years of age, had a
+perfectly uncorking time aboard the
+White Star liner Majestic, in yesterday.
+They were favorites with the smoke-room
+stewards. They learned later that
+man is born unto trouble as the corks
+fly upward. Etc.</p>
+</div>
+
+<div class="block">
+<p class="nt nb">It was a long black overcoat with a
+velvet collar, big cuffed sleeves, and
+broad of shoulder, and looked decidedly
+warm and comfy. It stood in one of
+the large display windows of &mdash;&mdash;,
+and covered the deficiencies of a waxy
+dummy, who stared in a surprised sort
+of manner out into the street and appeared
+to be looking at nothing. Etc.</p>
+</div>
+
+<div class="block">
+<p class="nt nb">The bellboys put him up to it and
+then Marcus caused a lot of trouble.
+Marcus is a parrot who has been spending
+the winter in one of the large
+Broadway hotels. Etc.</p>
+</div>
+
+<div class="block">
+<p class="nt nb">Lame, old, but uncomplaining, remembering
+only his joy when a visitor
+came to him, and forgetting to be bitter
+because of the wrongs done him, meeting
+his rescuer with a wag of the tail
+meant to be joyful, a St. Bernard dog
+set an example, etc.</p>
+</div><p><span class="pagenum"><a name="Page_249" id="Page_249">[249]</a></span></p>
+
+<p class="noi">Some human interest stories begin, and effectively,
+too, with a direct personal appeal to the reader;
+thus:</p>
+
+<div class="block">
+<p class="nt nb">If you've never seen anybody laugh
+with his hands, you should have eased
+yourself up against a railing at the Barnum
+and Bailey circus in Madison
+Square Garden yesterday afternoon and
+watched a band of 250 deaf mute youngsters,
+all bedecked in their bestest, signalling
+all over the Garden. Etc.</p>
+</div>
+
+<div class="block">
+<p class="nt nb">If you've ever sat in the enemy's camp
+when the Blue eleven lunged its last
+yard for a touchdown and had your
+hair ruffled by the roar that swept across
+the gridiron, you can guess how 1,500
+Yale men yelled at the Waldorf last
+night for Bill Taft of '78. Etc.</p>
+</div>
+
+<p class="noi">A question is often used at the beginning of a human
+interest story:</p>
+
+<div class="block">
+<p class="nt nb">A near-suicide or an accident. Which?
+Keeper Bean is somewhat puzzled to
+say which, but it is quite certain it will
+not be tried again. At least, Keeper
+Bean does not think it will.</p>
+
+<p>But, it was a sad, sad Sunday for the
+little white-faced monkey. For hours
+he lay as dead, etc.</p>
+</div>
+
+<p class="noi">Many of these stories, animal or otherwise, begin
+with a name:<span class="pagenum"><a name="Page_250" id="Page_250">[250]</a></span></p>
+
+<div class="block">
+<p class="nt nb">Long Tom, a Brahma rooster that
+had been the "bad inmate" of Jacob
+Meister's farm at West Meyersville, N. J.,
+for three years, paid the penalty of
+his crimes Christmas morning when he
+was beheaded after his owner had condemned
+him to death. Bad in life, he
+was good in a potpie that day, etc.</p>
+</div>
+
+<p>The beginning of a human interest story is always
+the most important part; just like a news story, it
+must attract attention with its first line. In the
+same way, a good beginning is something more
+than half done. But here the similarity between
+the two ends. The news story, after the lead is
+written, may slump in technique so that the end is
+almost devoid of interest; the human interest story,
+on the other hand, must keep up its standard of excellence
+to the very last sentence and the last line
+must have as much snap as the first. It is never
+in danger of losing its last paragraph and so it
+may be more rounded and complete; it must follow
+a definite plan to the very end and then stop.
+In this it is like the short story, although it seldom
+has a plot. There are no rules to help us in writing
+any part of the human interest story. Each attempt
+has a different purpose and must be done in
+a different way. Yet the reporter must know before
+he begins just exactly how he is going to work<span class="pagenum"><a name="Page_251" id="Page_251">[251]</a></span>
+out the whole story. He must plan it as carefully
+as a short story. A few minutes of careful thought
+before he begins to write are better than much reworking
+and alteration after the thing is done.
+This applies to all newspaper writing.</p>
+
+<p>Much of the effectiveness of the human interest
+story depends upon the reporter's style. When we
+try to write human interest stories we are no longer
+interested in facts, as much as in words. Our readers
+are not following us to be informed, but to be
+entertained. And we can please them only by our
+style and the fineness of our perception. Although
+we have been told to write news stories in the common
+every-day words of conversation, we are not
+so limited in the human interest story. The elegance
+of our style depends very largely upon the
+size of our vocabulary, and elegance is not out of
+place in this kind of story. Although we have been
+told to use dialogue sparingly in news stories, our
+human interest story may be composed entirely of
+dialogue. In fact, we are hampered by no restrictions
+except the restrictions of English grammar
+and literary composition. Although we have sought
+simplicity of expression before, we may now strive
+for subtlety and for effect; we may write suggestively
+and even obscurely. We are dealing with the
+only part of the newspaper that makes any effort<span class="pagenum"><a name="Page_252" id="Page_252">[252]</a></span>
+toward literary excellence and only our originality
+and cleverness can guide us.</p>
+
+<p>It is hardly necessary to repeat that one cannot
+write human interest stories in a cynical tone. They
+are a reaction against cynicism. They require
+one to feel keenly, as a human being, and
+to write sympathetically, as a human being. The
+reporter must see behind the facts and get the personal
+side of the matter&mdash;and feel it. Then he must
+tell the story just as he sees and feels it. Absolute
+truthfulness in the telling is as necessary as keen
+perception in the seeing. Humor must be sought
+through the simple, truthful presentation of an
+incongruous or humorous idea or situation; pathos
+must be sought by the truthful presentation of a
+pathetic picture. Just as soon as the reporter tries
+to be funny or to be pathetic he fails, for the reader
+is not looking to the reporter for fun or pathos&mdash;but
+to the story that the reporter is telling. That
+is, the story must be written objectively; the writer
+must forget himself in his attempt to impress the
+story upon his reader's mind. If the story itself
+is fundamentally humorous or sad and the story is
+clearly and truthfully told with all the details that
+make it humorous or sad, it cannot help being effective.</p>
+
+<p>The best way to learn how to write human interest<span class="pagenum"><a name="Page_253" id="Page_253">[253]</a></span>
+stories is to study human interest stories. Most
+papers print them nowadays&mdash;they can easily be
+distinguished by their lack of news value, and of
+a lead&mdash;and the finest example is just as likely to
+crop out in a little weekly as in a metropolitan daily.</p>
+
+<p><b>4. The Animal Story.</b>&mdash;The examples printed earlier
+in this chapter are specimens of the truest type
+of human interest story because they deal with human
+beings. They derive their joy or sorrow from
+things that happen to men and women. But all the
+sketches that are classed as human interest stories
+are not so carefully confined to the limits of the
+title. From the original human interest story the
+type has grown until it includes many other things&mdash;almost
+any piece of copy that has no intrinsic
+news value. Every possible subject that may suit
+itself to a pathetic or humorous treatment and thus
+be interesting, although it has no news value, is
+roughly classed as a human interest story.</p>
+
+<p>One of these outgrowths of the true human interest
+sketch is the animal story. In the large cities,
+the "zoo" and the parks have become a fruitful
+source of "news." Anything interesting that may
+happen to the monkeys, or the elephant, the sparrows
+or the squirrels in the parks, horses or dogs
+in the street, is used as the excuse for a human interest
+story. Sometimes the purpose is pathos and<span class="pagenum"><a name="Page_254" id="Page_254">[254]</a></span>
+sometimes it is humor, but, whatever it may be, if
+it is clever and interesting it gets its place in the
+paper, a place entirely out of proportion to its true
+news value. The results sometimes verge very close
+upon nature faking, but after all they are only the
+result of the "up-lift" idea of looking at all life in
+a more sympathetic way. Several of the beginnings
+quoted earlier in this chapter belong to animal
+stories and the following is a complete one:</p>
+
+<div class="block">
+<p class="nt nb">Smithy Kain was only a mongrel,
+horsemen will say, but in his equine
+heart there coursed the blood of thoroughbreds.</p>
+
+<p class="nt nb">Smithy Kain was killed yesterday afternoon,
+shot through the head, while
+thousands of Wisconsin fair patrons
+looked on in shuddering sympathy.</p>
+
+<p class="nt nb">It was a tragedy of the track.</p>
+
+<p class="nt nb">Owners, trainers and drivers always
+are quick to declare that no greater
+courage is known than that possessed
+and demonstrated by race horses in
+hard-fought battles on the turf, and the
+truth of this was never more strikingly
+brought home than in the death of
+Smithy Kain yesterday.</p>
+
+<p class="nt nb">With a left hind foot snapped at the
+fetlock, Smithy Kain raced around the
+track, his valiant spirit and unfaltering
+gameness keeping him up until he had
+completed the course in unwavering pursuit
+of the flying horses in front. Every
+jump meant intense agony, but he would<span class="pagenum"><a name="Page_255" id="Page_255">[255]</a></span>
+not quit. Not until near the finish did
+his strength give out, and not until then
+was the pitiable truth discovered. Men
+used to exhibitions of gameness in tests
+that try the soul looked on in mute admiration
+as Smithy Kain shivered and
+stumbled from the pain that rapidly
+sapped his life. Women cried openly.</p>
+
+<p class="nt nb">Two shots from the pistol of a park
+policeman ended the life and sufferings
+of the horse that was only a mongrel,
+but who, in his equine way, was a
+thoroughbred of thoroughbreds.</p>
+
+<p class="nt nb">Smithy Kain gave to his master the
+best that his animal mind and soul possessed.
+No better memorial can be
+written even of man himself.</p>
+</div>
+
+<p><b>5. The Special Feature Story.</b>&mdash;One step beyond
+the animal story is the special feature story. This
+kind of story is classed with the human interest
+story because it has no news value and because its
+only purpose is to entertain or to inform in a general
+way; and yet it rarely contains any human interest.
+There is no space in this book for a complete
+discussion of the special feature story&mdash;an entire
+volume might be devoted to the subject&mdash;but
+this form of story is often seen in the news columns
+of the daily papers and deserves a mention here.
+Ordinarily the special feature story is not written
+by reporters, although there is no reason why reporters
+should not use in this way many of the<span class="pagenum"><a name="Page_256" id="Page_256">[256]</a></span>
+facts that come to them. The story usually comes
+from outside the newspaper office, from a contributor,
+from a syndicate, or from some other daily,
+weekly, or monthly publication; however a word or
+two here may suggest to the reporter the possibility
+of adding to his usefulness by writing such stories
+for his paper.</p>
+
+<p>The special feature story may be almost anything.
+The name is used to designate timely magazine articles,
+timely write-ups for the Sunday edition, and
+timely squibs for the columns of the daily papers.
+The last use is the one that interests us and it interests
+us because it is very closely related to the human
+interest story. The editors usually call it a feature
+story because it is worth printing in spite of the
+fact that it has no news value. In this and in its
+timeliness it is like the human interest story. But
+it is not written for humor or pathos; its purpose
+is to entertain the reader. Its method is largely
+expository and its style may be anything; it may explain
+or it may simply comment in a witty way. The
+utilizing of otherwise useless by-products of the
+news is its purpose&mdash;in this it is very much like the
+animal story.</p>
+
+<p>Subjects for feature stories may come from anywhere
+and may be almost anything. A very common
+kind of feature story is the weather story that<span class="pagenum"><a name="Page_257" id="Page_257">[257]</a></span>
+many newspapers print every day. The weather is
+taken as the excuse for two or three stickfuls of
+print which explain and comment upon weather conditions,
+past, present and future. Growing out of
+this, there is the season story which deals with any
+subject that the season may suggest: the closing of
+Coney Island, the spring styles in men's hats, the
+first fur overcoat, Commencement presents, Easter
+eggs&mdash;anything in season. Further removed from
+the human interest story is the timely write-up
+which has no other purpose than to explain, in a
+more or less serious or sensible way, any interesting
+subject that comes to hand. The story purports
+not only to entertain but to inform as well. It has
+no news value and yet it is usually timely. Here are
+a few subjects selected at random from the daily
+papers: "He'll pay no tax on cake," explaining in
+a humorous way the customs methods that held up
+the importation of an Italian Christmas cake;
+"Clearing House for Brains," a description of the
+new employment bureau of the Princeton Club of
+New York; "Ideal man picked by the Barnard
+girl," a humorous resum&eacute; of some Barnard College
+class statistics; "Winning a Varsity Letter," telling
+what a varsity letter stands for, how it is won, and
+what the customs of the various colleges in regard
+to letters are; "Jerry Moore raises a record corn<span class="pagenum"><a name="Page_258" id="Page_258">[258]</a></span>
+crop," telling how a fifteen-year-old boy won prizes
+with a little patch of corn.</p>
+
+<p>These are just a few suggestions to open up to
+the reporter the vast field for special feature articles.
+To be sure, many of them are submitted by outsiders,
+but there is no reason why a reporter should
+not write these stories as well as human interest
+stories for his paper, since he is in the best position
+to get the material. Whenever a special feature
+story becomes too large for the daily edition
+there is always a possibility of selling it to the Sunday
+section or to a monthly magazine. The writing
+of special feature stories is directly in line with the
+reporter's work, because the ordinary method of
+gathering facts for a feature article and arranging
+them in an interesting, newsy way follows closely
+the method by which a reporter covers and writes
+a news story. Hence almost without exception the
+most successful magazine feature writers are, or
+have been, newspaper reporters.</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_259" id="Page_259">[259]</a></span>
+<a name="xvi" id="xvi"></a>XVI<br />
+<br />
+<small>DRAMATIC REPORTING</small></h2>
+
+
+<p>Dramatic reporting is one of the most misused
+of the newspaper reporter's activities. To many
+reporters, as well as to their editors, it is just an
+easy way of getting free admission to the theater
+in return for a half column of copy. Hence it is
+treated in an unjustly trivial way; the reports of
+theatrical productions are printed most often as
+space fillers or as a small advertisement in return for
+free tickets. But after all the work is an important
+one and should be done only by skillful and expert
+hands. Dramatic reporting is included in this book,
+not because it is thought possible to give the subject
+an adequate treatment, but because theatrical
+reporting is a branch of the newspaper trade that
+may fall to the hands of the youngest reporter. In
+mere justice to the stage the reporter who writes
+up a play should know something about the real significance
+of what he is doing. It is much easier
+to tell the beginner what not to do than to tell him<span class="pagenum"><a name="Page_260" id="Page_260">[260]</a></span>
+exactly what to do. The faults in dramatic reporting
+are far more evident than the virtues; and yet
+there are some positive things that may be said on
+the subject.</p>
+
+<p>The first important question in the whole matter
+is "Who does dramatic reporting?" One would like
+to answer, "Skilled critics of broad knowledge and
+experience." But unfortunately almost anybody
+does it&mdash;any one about the office who is willing to
+give up his evening to go to the theater. To be sure,
+many metropolitan papers employ skilled critics to
+write their dramatic copy and run the theatrical
+news over the critic's name. Some editors of
+smaller papers have the decency to do the work
+themselves. But in most cases the work is given
+to an ordinary reporter&mdash;and not infrequently to the
+greenest reporter on the staff. Worse than that, the
+work is seldom given to the same reporter continuously,
+but is passed around among all the members
+of the staff. Even a green cub may learn by experience
+how to report plays, but if the work falls to
+him only once a month his training is very
+meager. It would seem in these days of much discussion
+of the theater that editors would realize
+the power which they have over the stage through
+their favorable or unfavorable criticism. But they
+do not, perhaps because they know little about the<span class="pagenum"><a name="Page_261" id="Page_261">[261]</a></span>
+stage, and the appeal must be made to their reporters.
+Every reporter, except upon the largest
+papers, has the opportunity sooner or later to give
+his opinion on a play. In anticipation of that opportunity
+these few words of advice are offered.</p>
+
+<p>The first requisite in dramatic criticism is a background
+of knowledge of the drama and the stage.
+To children, and to some grown people, too, the
+stage is a little dream world of absolute realities.
+Their imaginations turn the picture that is placed before
+them into real, throbbing life. They do not
+see the unreality of the art, the suggestive effects,
+the flimsy delusions; to them the play is real life, the
+stage is a real drawing room or a real wood, and
+they cannot conceive of the actors existing outside
+their parts. But the critic must look deeper; he
+must understand the machinery that produces the
+effects and he must weigh the success of the effects.
+He must get behind the play and see the actors outside
+the cast and the stage without its scenery;
+the dramatic art must be to him a highly technical
+profession. For this reason, he must know something
+about dramatic technique; he must have some
+background of knowledge. He must study the theater
+from every point of view, from an orchestra
+seat, from behind the scenes, from a peekhole in
+the playwright's study, and from the pages of stage<span class="pagenum"><a name="Page_262" id="Page_262">[262]</a></span>
+history. All the tricks and effects must be evident
+to him. The only thing that will teach him this is
+constant, intelligent theater-going. He must be
+familiar with all of the plays of the season and
+with all of the prominent plays of all seasons. A
+child cannot criticize the first play that he sees because
+he has nothing with which to compare it. In
+the same way a reporter cannot justly judge any
+kind of play until he has seen another of the same
+kind with which to compare it. Hence he must
+know many plays and must know something about
+the history of the theater. Dramatic criticism is
+relative and the critic must have a basis for his comparison.</p>
+
+<p>This background of knowledge may seem a difficult
+thing to acquire. It is; and it can best be acquired
+by watching many plays with an eye for the
+technique of the art. The critic may judge a play
+from its effect upon him, but his judgment will be
+superficial. He must try to see what the playwright
+is trying to do, how well he succeeds, what tricks he
+employs. He must judge the work of the stage carpenter
+and of the costumer. He must try to realize
+what problem the leading lady has to face and how
+well she solves it. The same carefulness of judgment
+must be given to each member of the cast.
+Only when the critic is able to see past the footlights<span class="pagenum"><a name="Page_263" id="Page_263">[263]</a></span>
+and to understand the technique of the art,
+can he judge intelligently. And as his judgment
+can be at best only relative, he must have a background
+of many plays and much stage knowledge
+upon which to base his estimate of any one production.</p>
+
+<p>The ideal criticism, based upon this background
+of knowledge, would be absolutely fair and unprejudiced.
+But unfortunately this ideal cannot always
+be followed. Much dramatic criticism is colored by
+the policy of the paper that prints it. Very few
+critics are so fortunate as to be able to say exactly
+what they think about a play; they must say what
+the editor wants them to say. Some theatrical copy,
+especially write-ups of vaudeville shows, is paid for
+and must contain nothing but praise. Sometimes it
+is necessary to praise the poorest production simply
+because the paper is receiving so much a column
+for the praise. In many other cases, when the copy
+is not paid for, the editor often considers it only
+fair to give the production a little puff in return
+for the free press tickets. And so a large share
+of any reporter's dramatic criticism is reduced to
+selecting things that he can praise. Yet, one cannot
+praise in a way that is too evident; he cannot simply
+say "The play was good; the staging was good; the
+acting was good; in fact, everything was good."<span class="pagenum"><a name="Page_264" id="Page_264">[264]</a></span>
+He must praise more cleverly and give his copy
+the appearance of honest criticism. Perhaps the
+principle is wrong, but nevertheless it exists and
+happy is the dramatic critic whose paper allows him
+to say exactly what he thinks. However, whether
+one may say what he thinks or must say what his
+editor wants him to say, he must have as his background
+a thorough knowledge of the stage upon
+which he may base a comparison or a contrast and
+with which he may make intelligent statements.
+The following illustrates what may be done with a
+paid report of a mediocre vaudeville show in which
+every act must be praised&mdash;the report was written
+on Monday of a week's run and is intended to induce
+people to see the show:</p>
+
+<div class="block">
+<p class="nt nb">This week's bill at &mdash;&mdash; Vaudeville
+Theatre is dashed onto the boards by a
+very exciting act, "The Flying Martins,"
+whose thrilling tricks put the audience
+in a proper state of mind for the sparkling
+and laughable program that follows&mdash;a
+state of mind that keeps its high
+pitch without a break or let-down to the
+very end of Dr. Herman's side-splitting
+electrical pranks. This man, who has
+truly "tamed electricity," does many remarkable
+things with his big coils and
+high voltage currents and plays many
+extremely funny tricks upon his row of
+"unsuspecting-handsome" young volunteers.</p>
+
+<p class="nt nb"><span class="pagenum"><a name="Page_265" id="Page_265">[265]</a></span>
+The musical little playlet, "The Barn
+Dance," is very jokingly carried off by
+its Jack-of-all-Trades, "Zeke," the constable,
+and its pretty little ensemble song,
+"I'll Build a Nest for You." Many a
+young husband can get pointers on
+"home rule" from "Baseballitis;" it is a
+mighty good presentation of the "My
+Hero" theme in actual life. Hilda Hawthorne
+gives us some high-class ventriloquism
+with a good puppet song that is
+truly wonderful. There's a lot of good
+music, very good music in the sketch
+executed by "The Three Vagrants," as
+well as a lot of fun; one can hardly
+realize what an amount of melody an
+old accordion contains. Audrey Pringle
+and George Whiting have a hit that
+is sparkling with quick changes from
+Irish love songs to bull frog croaking
+with Italian variations.</p>
+</div>
+
+<p>For the purpose of a more complete study of
+the subject, however, we shall consider only dramatic
+criticism that is not restricted by editorial
+dictum or by the requirements of paid-space. That
+is, we shall imagine that we can praise or condemn
+or say anything we please concerning the dramatic
+production which we are to report. When we look
+at the subject in this way there are some positive
+things that may be said about theatrical reporting,
+but there are many more negative rules, that may
+be reduced to mere "Don'ts." The same principles<span class="pagenum"><a name="Page_266" id="Page_266">[266]</a></span>
+hold good in dramatic criticism that is hampered
+by policy, but to a less degree.</p>
+
+<p>In the first place, the one thing that a dramatic
+reporter must have when he begins to write his
+copy after the performance is some positive idea
+about the play, some definite criticism, upon which
+to base his whole report. It is impossible to write
+a coherent report from chance jottings and to confine
+the report to saying "This was good; that was
+bad, the other was mediocre." The critic must
+have a positive central idea upon which to hang his
+criticism. This central idea plays the same part
+in his report as the feature in a news story&mdash;it is
+the feature of his report which he brings into the
+first sentence, to which he attaches every item, and
+with which he ends his report. To secure this idea,
+the reporter must watch the play closely with the
+purpose of crystallizing his judgment in a single
+conception, thought, or impression. Sometimes this
+impression comes as an inspiration, sometimes it is
+the result of hard thought during or after the play.
+It may be concerned with the theme of the play,
+the playwright's work, the lines, the staging, the
+effects, the tricks, the acting as a whole, the acting
+of single persons, the music, the dancing, the costumes&mdash;anything
+connected with the production&mdash;but
+the idea must be big enough to carry the entire<span class="pagenum"><a name="Page_267" id="Page_267">[267]</a></span>
+report and to be the gist of what the critic has to
+say about the play. It must be his complete, concise
+opinion of the performance.</p>
+
+<p>When, as the critic watches the play, some idea
+comes to him for his report he should jot it down.
+As the play progresses he should develop this idea
+and watch for details that carry it out. There is
+no reason to be ashamed of taking notes in the
+theater and the notes will prove very useful at the
+office afterward. Perhaps after the play is over
+the critic finds that his jottings contain another
+idea that is of greater importance than the first;
+then he may incorporate the second into the first or
+discard the first altogether. Even after one has
+crystallized his judgment into a concise opinion he
+must elaborate and illustrate it and the program of
+the play is always of value in enabling one to refer
+definitely to the individual actors, characters, and
+other persons, by name. But, however complete the
+final judgment and the notes may be, it is always
+well to write the report immediately. When one
+leaves the theater his mind is teeming with things to
+say about the play, thousands of them, but after a
+night's sleep it is doubtful if a single full-grown
+idea will remain and the jottings will be absolutely
+lifeless and unsuggestive.</p>
+
+<p>This is the positive instruction that may be given<span class="pagenum"><a name="Page_268" id="Page_268">[268]</a></span>
+to young dramatic critics. It is so important and
+is unknown to so many young theatrical reporters,
+that it may be well to sum it up again. A dramatic
+criticism must be coherent; it must be unified. It
+must be the embodiment of a single idea about the
+play and every detail in the report must be attached
+to that idea. It is not sufficient to state the idea
+in a clever way; it must be expanded and elaborated
+with examples and reasons and must show careful
+thought. It is well to outline the report before it
+is written and to arrange a logical sequence of
+thought so that the result may be well-rounded and
+coherent.</p>
+
+<p>The following is an example of a dramatic criticism
+in which this course is followed. It neither
+praises nor condemns but it points out gently
+wherein the play is strong or weak&mdash;and every sentence
+is attached to one central idea:</p>
+
+<div class="block">
+<p class="c nt nb">A POLITE LITTLE PLAY.</p>
+
+<p class="nt nb s">Never raise your voice, my dear Gerald. That is the
+only thing left to distinguish us from the lower classes.
+<em>Lord Wynlea in "The Best People".</em></p>
+
+<p class="nt nb">The new comedy at the Lyric Theatre
+is written in accordance with Lord
+Wynlea's dictum quoted above. It is
+mannerly, well poised, ingratiating and
+deft. As a minor effort in the high
+comedy style it is welcome, because it
+affords a respite from the "plays with
+a punch" and the prevalent boisterous
+specimens of the work of yeomen who<span class="pagenum"><a name="Page_269" id="Page_269">[269]</a></span>
+go at the art of dramatic writing with
+main strength.</p>
+
+<p class="nt nb">"The Best People" is by Frederick
+Lonsdale and Frank Curzen, who manifestly
+know some of them. It was done
+at Wyndham's Theatre in London, and
+we think that in a comfortable English
+playhouse, with tea between acts and
+leisurely persons with whom to visit in
+the foyer, it would make an agreeable
+matinee. Certainly it is admirably acted
+here, and, as has been intimated, its
+quiet drollery and its polite maneuvering
+make it a relief.</p>
+
+<p class="nt nb">Whether American audiences, used to
+stronger fare than tea at the theatre,
+will find it sustaining is a question that
+would seem to be answered by the announcement,
+just received from the
+Lyric, that the engagement closes next
+Saturday evening.</p>
+
+<p class="nt nb">The fable relates how the Honorable
+Mrs. Bayle discovered that her husband
+and Lady Ensworth had been flirting
+with peril during her absence in Egypt,
+how she blithely threw them much together,
+with the result that they grew
+intensely weary of each other, and how
+at last everybody concerned was happily
+and sensibly reconciled.</p>
+
+<p class="nt nb">The spirit of the piece is sane and
+"nice," the decoration of it whimsical
+and graceful.</p>
+
+<p class="nt nb">Miss Lucille Watson, embodying the
+spirit of witty mischief, gives a very
+fine performance of the part of Mrs.
+Bayle, a "smart," good woman, and Miss<span class="pagenum"><a name="Page_270" id="Page_270">[270]</a></span>
+Ruth Shepley is excellent in byplay and
+flutter as a silly, good woman.</p>
+
+<p class="nt nb">Cyril Scott is graceful and vigorous
+as a philandering husband, Dallas Anderson
+comical as a London clubman
+with a keener relish in life than he is
+willing to betray, and William McVey
+wise, paternal and weighty in that kind
+of a part.</p>
+
+<p class="nt nb">"The Best People" is a pleasant spring
+fillip.</p>
+</div>
+
+<p>The first admonition in theatrical reporting is
+"Don't resum&eacute; the plot or tell the story of the
+play." This is almost all that many dramatic reporters
+try to do, because it is the easiest thing to
+do and requires the least thought. But, after all, it
+is usually valueless. The story of the play does
+not interest readers who have already seen the play
+and it spoils the enjoyment of the play for those
+who intend to see it. The usual purpose of any
+theatrical report is to criticize, but a report that
+simply resum&eacute;s the story of the play is not a criticism;
+hence space devoted to the story is usually
+wasted. To be sure, this admonition must be qualified.
+If the development of the critic's judgment of
+the play requires a resum&eacute; of the story, there is then
+a reason for outlining the action. However, even
+then, the outline should be very brief.</p>
+
+<p>The following is a typical example of the usual<span class="pagenum"><a name="Page_271" id="Page_271">[271]</a></span>
+dramatic reporting which is satisfied when it has
+told the story of the play. In this, the first two
+sentences are a very bald attempt to repay the manager
+for his tickets. The resum&eacute; of the story, given
+very obviously to fill space, is not of any critical
+value. The only real criticism is at the end and
+is inadequate because the praise is given without
+reason.</p>
+
+<div class="block">
+<p class="nt nb">Grace George and her small but excellent
+company of artists added one
+more to their long list of successful
+performances last night in the production
+of Geraldine Bonner's clever comedy
+of modern life, "Sauce for the
+Goose," at the &mdash;&mdash; Theatre. That the
+moody and sparkling Miss George has
+a good claim to the title of America's
+leading comedienne, no one who saw
+the performance last evening could
+deny. In this piece she is cast for the
+part of Kitty Constable, who is in the
+third year of her married life and living
+with her husband in New York City.
+Mr. Constable has been engaged in
+writing a book on the emancipation of
+woman and as a result has come to neglect
+his pretty little wife and seek the
+companionship of a certain woman of
+great intellect, Mrs. Alloway, who leads
+him on by an affected sympathy with
+his work. He chides his wife for her
+seeming negligence of the culture of her
+mind, telling her that she lacks grey<span class="pagenum"><a name="Page_272" id="Page_272">[272]</a></span>
+matter. The climax comes when Mr.
+Constable tries to get away from his
+wife on the evening of their wedding
+anniversary to dine with Mrs. Alloway.
+Kitty tries the emancipated woman idea
+and goes to the opera with another man
+and has dinner with him in his apartments.
+She lets her husband know of
+her plans and he comes to the room
+in a rage. By thus playing first on his
+jealousy and then by ridiculing his
+ideas, she wins him back to herself. The
+company was made up of artists and
+there was not a crude spot in the whole
+performance. The part of Harry Travers,
+the friend of Mrs. Constable's, was
+excellently done by Frederick Perry, as
+was that of Mr. Constable by Herbert
+Percy. Probably the most difficult character
+in the play to portray was that of
+the "woman's rights" woman, Mrs. Alloway,
+which was most admirably done
+by Edith Wakeman.</p>
+</div>
+
+<p>The word criticism must not lead the reporter to
+think that, as a critic, his only function is to find
+fault. To criticize may mean to praise as well as
+to condemn. If the critic is not restricted by the
+policy of his paper, he should be as willing to
+praise as to condemn, and vice versa. But whichever
+course he takes he must be ready to defend his
+criticism and to tell why he praises or why he condemns.
+There is always a tendency to praise a play<span class="pagenum"><a name="Page_273" id="Page_273">[273]</a></span>
+in return for the free tickets; this should be put
+aside absolutely. The critic owes something to the
+public as well as to the manager. If the play seems
+to him to be bad, he must say so without hesitation
+and he must tell why it is bad. Too many really
+bad plays are immensely advertised by a critic's undefended
+statement that they are not fit to be seen.
+Had the critic given definite reasons for his condemnation,
+his criticism might have accomplished
+its purpose. In the same way it is useless to say
+simply that a play is good. Its good points must
+be enumerated and the reader must be told why it
+is good.</p>
+
+<p>However, criticism must be written with delicacy.
+If your heart tells you to praise, praise; if your
+heart tells you to condemn, condemn with care.
+Remember that your condemnation may put the
+play off the boards or at least hurt its success, and
+there must be sufficient reason for such radical action.
+The critic's debt to the public is large, but
+he owes some consideration to the manager. He
+must hesitate before he says anything that may ruin
+the manager's business. Critics very often condemn
+a play for trivial reasons; they feel indisposed, perhaps
+because their dinner has not agreed with them,
+the play does not fit into their mood and they turn
+in a half column of ruinous condemnation. Perhaps<span class="pagenum"><a name="Page_274" id="Page_274">[274]</a></span>
+they like a certain kind of production&mdash;farces, for
+instance&mdash;and systematically vent their ire on every
+tragedy and every musical comedy. They do not
+use perspective; they do not judge the stage as
+a whole. No matter how poor a play is or how
+much a critic dislikes it, he must consider what
+the stage people are trying to do and judge accordingly.
+In many cases it is not the individual play
+that deserves adverse criticism, but the kind of play.
+All of these things must be considered; every dramatic
+critic must have perspective. He must be fair
+to the stage people and to the public; his influence is
+greater than he may imagine.</p>
+
+<p>No matter how strong the occasion for condemnation
+may be, the dramatic critic is never justified
+in speaking bitterly. The poor production is not
+a personal offense against him nor against the public.
+It is simply a bad or an unworthy attempt and
+his duty is confined to pointing how or why it is
+not worthy. That does not mean that he is justified
+in using bitter, abusive, or even sarcastic language.
+It is great sport to make fun of things and
+to exercise one's wits at some one's else expense&mdash;it
+is also easy&mdash;but that is not dramatic criticism.
+The public asks the critic to tell them calmly and
+fairly, even coldly, the reasons for or against a production&mdash;the
+reasons why they should, or should<span class="pagenum"><a name="Page_275" id="Page_275">[275]</a></span>
+not, spend their money to see it&mdash;bitter sarcasm
+overreaches the mark. Just as soon as a critic
+tries to be personal in his remarks on a play he
+is exceeding his prerogative and is open to serious
+criticism himself.</p>
+
+<p>The necessary attributes of a dramatic reporter,
+as we have seen, are: fairness, logical thinking, and
+a background of stage knowledge. And of these
+three, the background is of the greatest importance;
+it is the stimulus and the check for the other two.
+The more a critic can know about every phase of the
+theatrical profession, contemporary or historical, the
+better will be his criticisms. The more knowledge
+of the stage that his copy shows, the more greedily
+will his readers look for his "Theatrical News"
+each day. However clear his idea of a play may
+be he cannot express it clearly and readably without
+a background of other plays to refer to. And,
+by the same sign, a wealth of allusions and a quantity
+of theatrical lore will often carry a critic past
+many a play concerning which he is unable to form
+a clear opinion. To develop your ability as a dramatic
+reporter, watch the theatrical criticisms in
+reputable dailies and weeklies and learn from them.</p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_276" id="Page_276">[276]</a></span>
+<a name="xvii" id="xvii"></a>XVII<br />
+<br />
+<small>STYLE BOOK</small></h2>
+
+<p class="hang"><em>Being a copy of the Style Book compiled for the
+Course in Journalism of the University of
+Wisconsin from the style books of many newspapers.</em></p>
+
+
+<p><b>1. Capitalize:</b></p>
+
+<p class="hang">All proper nouns: Smith, Madison, Wisconsin.</p>
+
+<p class="hang">Months and days of the week, but not the seasons
+of the year: April, Monday; but autumn.</p>
+
+<p class="hang">The first word of every quotation, enumerated list,
+etc., following a colon.</p>
+
+<p class="hang">The principal words in the titles of books, plays,
+lectures, pictures, toasts, etc., including the initial
+"a" or "the": "The Merchant of Venice,"
+"Fratres in Urbe." If a preposition is attached
+to or compounded with the verb capitalize the
+preposition also: "Voting <em>For</em> the Right Man."</p>
+
+<p class="hang">The names of national political bodies: House,
+Senate, Congress, the Fifty-first Congress.</p>
+
+<p class="hang">The names of national officers, national departments,
+etc.: President, Vice President, Navy Department,
+Department of Justice (but not bureau of
+labor), White House, Supreme Court (and all<span class="pagenum"><a name="Page_277" id="Page_277">[277]</a></span>
+courts), the Union, Stars and Stripes, Old Glory,
+Union Jack, United States army, Declaration of
+Independence, the (U. S.) Constitution, United
+Kingdom, Dominion of Canada.</p>
+
+<p class="hang">All titles preceding a proper noun: President Taft,
+Governor-elect Wilson, ex-President Roosevelt,
+Policeman O'Connor.</p>
+
+<p class="hang">The entire names of associations, societies, leagues,
+clubs, companies, roads, lines, and incorporated
+bodies generally: Mason, Odd Fellow, Knights
+Templar, Grand Lodge of Knights of Pythias,
+Woman's Christian Temperance Union, Wisconsin
+University, First National Bank, Schlitz
+Brewing Company (but the Schlitz brewery),
+Metropolitan Life Insurance Company, Chicago
+and Northwestern Railway Company, the Association
+of Passenger and Ticket Agents of the
+Northwest, Clover Leaf Line, Rock Island Road,
+Chicago Board of Trade, New York Stock Exchange
+(but the board of trade and the stock
+exchange).</p>
+
+<p class="hang">The names of all religious denominations, etc.:
+Catholic, Protestant, Mormon, Spiritualist, Christian
+Science, First Methodist Church (but a Methodist
+church), the Bible, the Koran, Christian,
+Vatican, Quirinal, Satan, the pronouns of the
+Deity.</p>
+
+<p class="hang">The names of all political parties (both domestic
+and foreign): Republican, Socialism, Socialist,
+Democracy, Populist, Free Silverite, Labor party,
+(but anarchist).<span class="pagenum"><a name="Page_278" id="Page_278">[278]</a></span></p>
+
+<p class="hang">Sections of the country: the North, the East, South
+America; southern Europe.</p>
+
+<p class="hang">Nicknames of states and cities: The Buckeye State,
+the Hub, the Windy City.</p>
+
+<p class="hang">The names of sections of a city and branches of a
+river, etc.: the East Side, the North Branch.</p>
+
+<p class="hang">The names of stocks in the money market: Superior
+Copper, Fourth Avenue Elevated.</p>
+
+<p class="hang">The names of French streets and places: Rue de la
+Paix, Place de la Concorde.</p>
+
+<p class="hang">Names of automobiles: Peerless, the White
+Steamer, Pierce Arrow.</p>
+
+<p class="hang">Names of holidays: Fourth of July, Christmas,
+New Year's day, Thanksgiving day.</p>
+
+<p class="hang">Names of military organizations: First Wisconsin
+Volunteers, Twenty-third Wisconsin Regiment,
+Second Army Corps, second division Sixth Army
+Corps, National Guard, Ohio State Militia, First
+Regiment armory, the militia, Grand Army of
+the Republic.</p>
+
+<p class="hang">The names of all races and nationalities (except
+negro): American, French, Spanish, Chinaman.</p>
+
+<p class="hang">The nicknames of baseball clubs: the White Sox,
+the Cubs.</p>
+
+<p class="hang">Miscellaneous: la France, Irish potatoes, Enfield
+rifle, American Beauty roses.</p>
+
+<p><b>2. Capitalize when following a proper noun:</b>
+Bay, block, building, canal, cape, cemetery, church,
+city, college, county, court (judicial), creek, dam,
+empire, falls, gulf, hall, high school, hospital, hotel,
+house, island, isthmus, kindergarten, lake, mountain,<span class="pagenum"><a name="Page_279" id="Page_279">[279]</a></span>
+ocean, orchestra, park, pass, peak, peninsula, point,
+range, republic, river, square, school, state, strait,
+shoal, sea, slip, theatre, university, valley, etc.:
+South Hall, Park Hotel, Hayes Block, Singer Building,
+Dewey School, South Division High School,
+Superior Court, New York Theatre, Beloit College,
+Wisconsin University, Capitol Square.</p>
+
+<p><b>3. Do not capitalize when following a proper name:</b>
+Addition, avenue, boulevard, court (a short street),
+depot, elevator, mine, place, station, stockyards,
+street, subdivision, ward, etc.: Northwestern depot,
+Pinckney street station, Third ward, Harmony
+court, Amsterdam avenue, Broad street, Wingra
+addition, Washington boulevard, Winchester place.</p>
+
+<p><b>4. Capitalize when preceding a proper noun:</b>&mdash;All
+titles denoting rank, occupation, relation, etc. (do
+not capitalize them when they follow the noun):
+alderman, ambassador, archbishop, bishop, brother,
+captain, cardinal, conductor, congressman, consul,
+commissioner, councilman, count, countess, czar,
+doctor, duke, duchess, earl, emperor, empress, engineer,
+father, fireman, governor, her majesty, his
+honor, his royal highness, judge, mayor, motorman,
+minister, officer, patrolman, policeman, pope, prince,
+princess, professor, queen, representative, right reverend,
+senator, sheriff, state's attorney, sultan: Alderman
+John Smith (but John Smith, alderman),
+Senator La Follette (but Mr. La Follette, senator
+from Wisconsin).</p>
+
+<p>The same rule applies when the following words
+precede a proper noun as part of a name: bay, cape,<span class="pagenum"><a name="Page_280" id="Page_280">[280]</a></span>
+city, college, county, empire, falls, gulf, island, point,
+sea, state, university, etc.: City of New York, Gulf
+of Mexico, University of Wisconsin, College of the
+City of New York, College of Physicians and Surgeons.</p>
+
+<p><b>5. Do not capitalize:</b></p>
+
+<p class="hang">The names of state bodies, etc.: the senate, house,
+congress, speaker, capitol, executive mansion, revised
+statutes. (These are capitalized only when
+they refer to the national government: e. g., the
+capitol at Madison, the Capitol at Washington.)</p>
+
+<p class="hang">The names of city boards, departments, buildings,
+etc.: boards, bureaus, commissions, committees,
+titles of ordinance, acts, bills, postoffice, courthouse
+(unless preceded by proper noun), city
+hall, almshouse, poorhouse, house of correction,
+county hospital, the council, city council, district,
+precinct: e. g., the fire department, the tax committee.</p>
+
+<p class="hang">Certain other governmental terms: federal, national,
+and state government, armory, navy, army,
+signal service, custom-house.</p>
+
+<p class="hang">Points of the compass: east, west, north, south,
+northeast, etc.</p>
+
+<p class="hang">The names of foreign bodies: mansion-house, parliament,
+reichstag, landtag, duma.</p>
+
+<p class="hang">Common religious terms: the word of God, holy
+writ, scriptures, the gospel, heaven, sacred writings,
+heathen, christendom, christianize, papacy,
+papal see, atheist, high church, church and state,
+etc.<span class="pagenum"><a name="Page_281" id="Page_281">[281]</a></span></p>
+
+<p class="hang">The court, witness, speaker of the chair, in dialogues.</p>
+
+<p class="hang">Scientific names of plants, animals, and birds: formica
+rufa.</p>
+
+<p class="hang">a. m., p. m., and m. (meaning a thousand); "ex-"
+preceding a title.</p>
+
+<p class="hang">The names of college classes: freshman, sophomore.</p>
+
+<p class="hang">College degrees when spelled out: bachelor of arts;
+but B. A.</p>
+
+<p class="hang">Seasons of the year: spring, autumn, etc.</p>
+
+<p class="hang">Officers in local organizations (election of officers);
+president, secretary, etc.</p>
+
+<p class="hang">Certain common nouns formed from proper nouns:
+street arab, prussic acid, prussian blue, paris green,
+china cup, india rubber, cashmere shawl, half
+russia, morocco leather, epsom salts, japanned
+ware, plaster of paris, brussels and wilton carpets,
+valenciennes and chantilly lace, vandyke collar,
+valentine, philippic, socratic, herculean, guillotine,
+derby hat, gatling gun.</p>
+
+<p><b>6. Punctuation:</b></p>
+
+<p class="hang">Omit periods after nicknames: Tom, Sam, etc.</p>
+
+<p class="hang">Always use a period between dollars and cents and
+after per cent., but never after c, s, and d, when
+they represent cents, shillings, and pence: $1.23,
+10 per cent., 2s 6d.</p>
+
+<p class="hang">Punctuate the votes in balloting thus: Yeas, 2;
+nays, 3.</p>
+
+<p class="hang">Punctuate lists of names with the cities or states
+to which the individuals belong thus: Messrs.
+Smith of Illinois, Samson of West Virginia, etc.<span class="pagenum"><a name="Page_282" id="Page_282">[282]</a></span>
+If the list contains more than three names, omit
+the "of" and punctuate thus: Smith, Illinois;
+Samson, West Virginia; etc. Where a number
+of names occurs with the office which they hold,
+use commas and semicolons, thus: J. S. Hall,
+governor; Henry Overstoltz, mayor; etc.</p>
+
+<p class="hang">Never use a colon after viz., to wit, namely, e. g.,
+etc., except when they end a paragraph. Use a
+colon, dash, or semicolon before them and commas
+after them, thus: This is the man; to wit,
+the victim.</p>
+
+<p class="hang">"Such as" should follow a comma and have no point
+after it: "He saw many things, such as men,
+horses, etc."</p>
+
+<p class="hang nb">Set lists of names thus without points:</p>
+
+<table class="t2 nt nb" summary="Names">
+<tr>
+<td class="tdb">Mesdames&mdash;</td>
+<td class="tdb">George V. King</td>
+</tr>
+<tr>
+<td class="tdb">Charles C. Knapp</td>
+<td class="tdb">Henry A. Lloyd</td>
+</tr>
+<tr>
+<td class="tdb">John H. Cole Jr.</td>
+</tr>
+</table>
+
+<p class="hang">Do not use a comma between a man's name and the
+title "Jr." or "Sr." as John Jones Jr.</p>
+
+<p class="hang">Use the apostrophe to mark elision: I've, 'tis, don't,
+can't, won't, canst, couldst, dreamt, don'ts, won'ts,
+'80s.</p>
+
+<p class="hang">Use the apostrophe in possessives and use it in the
+proper place: the boy's clothes, boys' clothes,
+Burns' poems, Fox's Martyrs, Agassiz's works,
+ours, yours, theirs, hers, its (but "it's" for it is).
+George and John's father was a good man; Jack's
+and Samuel's fathers were not.</p>
+
+<p class="hang">Do not use the apostrophe when making a plural
+of figures, etc.: all the 3s, the Three Rs.<span class="pagenum"><a name="Page_283" id="Page_283">[283]</a></span></p>
+
+<p class="hang">Do not use the apostrophe in Frisco, phone, varsity,
+bus.</p>
+
+<p class="hang">Use an em dash after a man's name when placed at
+the beginning in reports of interviews, speeches,
+dialogues, etc.: John Jones&mdash;I have nothing to
+say. (No quotation marks.)</p>
+
+<p class="hang">In a sentence containing words inclosed in parentheses,
+punctuate as if the part in parentheses were
+omitted: if there is any point put it after the last
+parenthesis.</p>
+
+<p class="hang">Use brackets to set off any expression or remark
+thrown into a speech or quotation and not originally
+in it: "The Republican party is again in
+power&mdash;[cheers]&mdash;and is come to stay."</p>
+
+<p class="hang">Use the conjunction "and" and a comma before the
+last name in a list of names, etc.: John, George,
+James, and Henry.</p>
+
+<p class="hang">Use no commas in such expressions as 6 feet 3 inches
+tall, 3 years 6 months old, 2 yards 4 inches long.</p>
+
+<p class="hang">Punctuate scores as follows: Wisconsin 8, Chicago
+0.</p>
+
+<p class="hang">Punctuate times in races, etc.: 100-yard dash&mdash;Smith,
+first; Jones, second. Time, 0:10 1-5.</p>
+
+<p class="hang">Peters carried the ball thirty yards to the 10-yard
+line.</p>
+
+<p><b>7. Date lines:</b></p>
+
+<p class="hang">Punctuate date lines as follows:<br />
+<br />
+MADISON, Wis., Jan. 25.&mdash;<br />
+<br />
+Do not use the name of the state after the names
+of the larger cities of the country, such as New<span class="pagenum"><a name="Page_284" id="Page_284">[284]</a></span>
+York, Chicago, Boston, Philadelphia, Baltimore,
+San Francisco, Seattle. Abbreviate the names of
+months which have more than five letters.</p>
+
+<p><b>8. Quoting:</b></p>
+
+<p class="hang">Quote all extracts and quotations set in the same
+type and style as the context, but do not quote
+extracts set in smaller type than the context or set
+solid in separate paragraphs in leaded matter.</p>
+
+<p class="hang">Quote all dialogues and interviews, unless preceded
+by the name of the speaker or by "Question" and
+"Answer":<br />
+<br />
+"I have nothing to say," answered Mr. Smith.<br />
+William Smith&mdash;I have nothing to say.<br />
+Question&mdash;Were you there?<br />
+Answer&mdash;I was.<br />
+</p>
+
+<p class="hang">Quote the names of novels, dramas, paintings, statuary,
+operas, and songs: "The Brass Bowl," "Il
+Trovatore."</p>
+
+<p class="hang">Quote the subjects of addresses, lectures, sermons,
+toasts, mottoes, articles in newspapers: "The
+Great Northwest," "Our Interests."</p>
+
+<p class="hang">Be sure to include "The" in the quotation of names
+of books, pictures, plays, etc.: "The Fire King";
+not the "Fire King"; unless the article is not a
+part of the name.</p>
+
+<p class="hang">Do not quote the names of theatrical companies, as
+Her Atonement Company.</p>
+
+<p class="hang">Do not quote the names of characters in plays, as
+Shylock in "The Merchant of Venice."</p>
+
+<p class="hang">Do not quote the names of newspapers. In editorials
+put "The Star" in italics, but in "The Kansas<span class="pagenum"><a name="Page_285" id="Page_285">[285]</a></span>
+City Star" put "Star" in italics and use no quotation
+marks.</p>
+
+<p class="hang">Do not quote the names of vessels, fire engines, balloons,
+horses, cattle, dogs, sleeping cars.</p>
+
+<p><b>9. Compounds and Divisions:</b></p>
+
+<p class="hang">Omit the hyphen when using an adverb compounded
+with -ly before a participle: a newly built house.</p>
+
+<p class="hang">Use a hyphen after prefixes ending in a vowel (except
+bi and tri) when using them before a vowel:
+co-exist. When using such a prefix before a consonant
+do not use the hyphen except to distinguish
+the word from a word of the same letters
+but of different meaning: correspondent, but
+co-respondent (one called to answer a summons);
+recreation, but re-create (to create anew) reform,
+but re-form (to form again); re-enforced;
+biennial, etc.</p>
+
+<p class="hang">Do not use the hyphen in the names of rooms when
+the prefix is of only one syllable: bedroom, courtroom,
+bathroom, etc. (except blue room, green
+room, etc.).<br />
+<br />
+When the prefix is of more than one syllable
+use the hyphen. Follow the same rule in making
+compounds of house, shop, yard, maker, holder,
+keeper, builder, worker: shipbuilder, doorkeeper.</p>
+
+<p class="hang">In dividing at the end of a line:<br />
+
+Do not run over a syllable of two letters.<br />
+Do not divide N. Y., M. P., LL. D., M. D., a. m.,
+p. m., etc.<br />
+Do not divide figures thus: 1,-000,000; but thus
+1,000,-000.<br />
+<span class="pagenum"><a name="Page_286" id="Page_286">[286]</a></span>
+Do not divide a word of five letters or less.<br />
+</p>
+
+<p><b>10. Figures:</b></p>
+
+<p class="hang">Use figures for numbers of a hundred or over, except
+when merely a large or indefinite number
+is intended: twenty-three, 123, about a thousand,
+a dollar, a million, millions, a thousand to one,
+from four to five hundred.</p>
+
+<p class="hang">Use figures for numbers of less than 100 when
+they are used in connection with larger numbers:
+There were 33 boys and 156 girls; there were
+106 last week and 16 this week.</p>
+
+<p class="hang">Use figures for hours of the day: at 7 p. m.; at
+8:30 this morning.</p>
+
+<p class="hang">Use figures for days of the month: April 30, the
+22nd of May.</p>
+
+<p class="hang">Use figures for ages: he was 12 years old; little
+2-year-old John. If the words "2-year-old John"
+begin a sentence or headline, spell out the age.</p>
+
+<p class="hang">Use figures for dimensions, prices, degrees of temperature,
+per cents., dates, votes, times in races,
+scores in baseball, etc.: 3 feet long, $3
+a yard, 76 degrees, Jan. 14, 1906. Time of race&mdash;2:27.</p>
+
+<p class="hang">Use figures for all sums of money: $24, $5.06,
+75 cents.</p>
+
+<p class="hang">Use figures for street numbers: 1324 Grand avenue.</p>
+
+<p class="hang">Use figures for numbered streets and avenues above
+99th; spell out below 100th: 123 Twenty-third
+avenue, 10 East 126th street.</p>
+
+<p class="hang">Use figures in statistical or tabular matter; never use
+ditto marks.<span class="pagenum"><a name="Page_287" id="Page_287">[287]</a></span></p>
+
+<p class="hang">Use figures, period, and en quad for first, second,
+etc.: 1.&mdash;, 2.&mdash;.</p>
+
+<p class="hang">Do not begin a sentence or paragraph with figures;
+supply a word if necessary or spell out: At 10
+o'clock; Over 300 men.</p>
+
+<p class="hang">Do not use the apostrophe to form plurals of figures:
+the 4s, rather than the 4's.</p>
+
+<p class="hang">In all texts from the Bible set the chapters in Roman
+numerals and the verses in figures: Matt. xxii.
+37-40; I. John v. 1-15. In Sunday school lessons
+say Verse 5.</p>
+
+<p class="hang">Say three-quarters of 1 per cent.; not 3/4 of 1 per
+cent.</p>
+
+<p class="hang">Set tenths, hundreds, etc., in decimals: 1.1; 2.03.</p>
+
+<p><b>11. Abbreviations:</b></p>
+
+<p class="hang">Abbreviate the following titles and no others, when
+they precede a name: Rev., Dr., Mme., Mlle.,
+Mr., Mrs., Mgr. (Monsignore), M. (Monsieur).<br />
+<br />
+<span class="pl">Do</span> not put Mr. before a name when the Christian<br />
+name is given except in society news and<br />
+editorials: Mr. Johnson; but Samuel L. Johnson.<br />
+<br />
+<span class="pl">Supply</span> Mr. in all cases when Rev. is used without<br />
+the Christian name: Rev. Henry W. Beecher;<br />
+but Rev. Mr. Beecher.<br />
+<br />
+<span class="pl">Never</span> use "Honorable" or the abbreviation<br />
+thereof except with foreign names, in editorials,<br />
+or in documents.<br />
+</p>
+
+<p class="hang">Abbreviate thus: Wash., Mont., S. D., N. D., Wyo.,
+Cal., Wis., Colo., Ind., Id., Kan., Ariz., Okla.,
+Me. Do not abbreviate Oregon, Iowa, Ohio,
+Utah, Alaska, or Texas.<span class="pagenum"><a name="Page_288" id="Page_288">[288]</a></span></p>
+
+<p class="hang">Abbreviate thus: Madison, Dane County, Wis.: but
+Dane County, Wisconsin.</p>
+
+<p class="hang">Use the abbreviations U. S. N. and U. S. A. after
+a proper name.</p>
+
+<p class="hang">Y. M. C. A., W. C. T. U., M. E. are good abbreviations.</p>
+
+<p class="hang">Abbreviate names of months when preceding date
+only when the month contains more than five letters:
+Jan. 20; but April 20. When the date precedes
+the month in reading matter spell it out:
+the 13th of January; the 26th inst.</p>
+
+<p class="hang">Abbreviate "Number" before figures: No. 10.</p>
+
+<p class="hang">Abbreviate contract, article, section, question, answer,
+after the first in bills, by-laws, testimony,
+etc.: Section 1., Sec. 2.; Question&mdash;, Answer&mdash;,
+Q.&mdash;, A.&mdash;.</p>
+
+<p class="hang">Do not abbreviate railway, company, the names of
+streets, wards, avenues, districts, etc.: Madison
+Street Railway Company; State street, Monona
+avenue.<br />
+<br />
+<span class="pl">Street</span> and avenue are sometimes abbreviated
+in want-ads: State-st, Monona-av.<br />
+<br />
+<span class="pl">Spell</span> out numbered streets and avenues up to
+100th: Thirty-fourth street, 134th street.<br />
+</p>
+
+<p class="hang">Use &amp; in names of firms, but use the long "and"
+in names of railroads. Use Etc. and not &amp;c.; use
+Brothers and not Bros. (except in ads); use &amp;
+only when necessary to abbreviate in stocks.</p>
+
+<p class="hang">Do not abbreviate the names of political parties except
+in election returns, then: Dem., Rep., Soc.,
+Lab., Ind., Pro., Un. Cit.<span class="pagenum"><a name="Page_289" id="Page_289">[289]</a></span></p>
+
+<p class="hang">Put in necessary commas in abbreviating railroad
+names: C., M. &amp; St. P. Ry. (Chicago, Milwaukee
+and St. Paul Railway); C., C., C. &amp; St. L. R. R.
+(Cleveland, Cincinnati, Chicago and St. Louis
+Railroad).</p>
+
+<p class="hang">Abbreviate without periods in market review and
+quotations: 25c, bu, brls, tcs, pkgs, f o b, p t, etc.
+Spell out centimes except when given thus:
+10f 20c.</p>
+
+<p class="hang">Do not abbreviate Fort and Mount: Fort Wayne,
+Mount Vernon.</p>
+
+<p><b>12. Preparation of Copy:</b></p>
+
+<p class="hang">Use a typewriter or write legibly; some one must
+read your copy.</p>
+
+<p class="hang">If you write with a typewriter, double or triple
+space your copy; never use single space.</p>
+
+<p class="hang">Don't write on more than one side of the paper.</p>
+
+<p class="hang">Leave sufficient margin for corrections and leave a
+space at the top of the first page for headlines;
+leave an inch at the top of each page.</p>
+
+<p class="hang">Don't put more than one story on a single sheet
+of paper.</p>
+
+<p class="hang">Don't trust the copy-reader to fill in blanks or to
+correct misspelled names. If you write by hand
+print out proper names as legibly as possible; underscore
+<em>u</em> and overscore <em>n</em>.</p>
+
+<p class="hang">Don't assume that the copy-reader, the proofreader,
+or the editor will punctuate for you, or eliminate
+all superfluous punctuation.</p>
+
+<p class="hang">Remember that uniformity is more to be desired
+than a strict following of style.<span class="pagenum"><a name="Page_290" id="Page_290">[290]</a></span></p>
+
+<p class="hang">Don't turn in copy without re-reading carefully and
+verifying all names and addresses.</p>
+
+<p class="hang">Use short paragraphs; always paragraph the lead
+separately; indent paragraphs distinctly.</p>
+
+<p class="hang">Don't write over figures or words; scratch out and
+rewrite.</p>
+
+<p class="hang">Number your pages; when pages are inserted use
+letters: pages 2, 3a, 3b, 4, 5.</p>
+
+<p class="hang">A circle around an abbreviation or a figure indicates
+that the word or number is to be spelled out. A
+circle around a spelled-out word or number indicates
+that it is to be abbreviated or run in figures.</p>
+
+<p class="hang">Mark the end of your story, thus: # # #</p>
+
+<p><b>13. Don'ts:</b></p>
+
+<p class="hang">Don't use "Honorable" or abbreviations thereof,
+except in extracts from speeches or documents, in
+editorials, or before foreign names.</p>
+
+<p class="hang">Don't add final s to afterward, toward, upward,
+downward, backward, earthward, etc.</p>
+
+<p class="hang">Don't use "signed" before the signature of a letter
+or document; run signature in caps.</p>
+
+<p class="hang">Don't begin a sentence or paragraph with figures;
+insert a word before the figures or spell out.</p>
+
+<p class="hang">Don't use commas in dates or in figures which denote
+the number of a thing, as A. D. 1908, 2324
+State street, Policy 33815; in other cases use the
+comma, as $5,289; 1,236,400 people.</p>
+
+<p class="hang">Don't forget that the following are singular and require
+singular verbs: sums of money, as $23 was
+invested; United States; anybody, everybody,<span class="pagenum"><a name="Page_291" id="Page_291">[291]</a></span>
+somebody, neither, either, none; whereabouts, as
+"His whereabouts is known."</p>
+
+<p class="hang">Don't forget that things OCCUR by chance or accident,
+and that things TAKE PLACE by arrangement.</p>
+
+<p class="hang">Don't "sustain" broken legs and other injuries.</p>
+
+<p class="hang">Don't "administer" punishment.</p>
+
+<p class="hang">Don't confound "audiences," "spectators," and casual
+"witnesses."</p>
+
+<p class="hang">Don't say "party" for "person."</p>
+
+<p class="hang">Don't use "suicide," "loan," "scare," as verbs.</p>
+
+<p class="hang">Don't use "gotten"; it is questionable; use "got."</p>
+
+<p class="hang">Don't use "burglarize."</p>
+
+<p class="hang">Don't use "transpire" for "occur."</p>
+
+<p class="hang">Don't use "locate" for "find"; to locate a thing is
+to place it.</p>
+
+<p class="hang">Don't use "stopped" for "stayed": He stayed at
+the Central Hotel.</p>
+
+<p class="hang">Don't "tender" receptions nor "render" songs; use
+simply "give" and "sing."</p>
+
+<p class="hang">Don't "put in an appearance"; just appear.</p>
+
+<p class="hang">Don't use "don't" for "doesn't."</p>
+
+<p class="hang">Don't use "stated" for "said."</p>
+
+<p class="hang">Don't say "per day" or "per year," but "a day,"
+"a year"; per is a Latin word and can be used
+only before a Latin noun, as "per diem" or "per
+annum."</p>
+
+<p class="hang">Don't say "the meeting convened"; members might
+convene but a single body cannot.</p>
+
+<p class="hang">Don't "claim that" anything is so; you can "claim"
+a thing, however.<span class="pagenum"><a name="Page_292" id="Page_292">[292]</a></span></p>
+
+<p class="hang">Don't say "Mrs. Dr. Smith," just "Mrs. Smith."</p>
+
+<p class="hang">Don't say "between" when more than two are mentioned.</p>
+
+<p class="hang">Don't use "proven" for "proved."</p>
+
+<p class="hang">Don't confound "staid" with "stayed."</p>
+
+<p class="hang">Don't say "different than," but "different from."</p>
+
+<p class="hang">Don't split infinitives or other verbs.</p>
+
+<p class="hang">Don't use "onto."</p>
+
+<p class="hang">Don't use "babe" or "tot" for "baby" or "child."</p>
+
+<p class="hang">Don't use superlatives when you can help it.</p>
+
+<p class="hang">Don't use trite expressions or foreign words and
+phrases.</p>
+
+<p class="hang">Don't use "corner of" in designating street location.</p>
+
+<p class="hang">Don't say "died from operation," but "died after
+operation"&mdash;to avoid danger of libel.</p>
+
+<p class="hang">Don't get the <em>very</em> habit.</p>
+
+<p class="hang">Don't use "couple of" instead of "two."</p>
+
+<p class="hang">Don't use Mr. before a man's full name.</p>
+
+<p class="hang">Don't use slang unless it is fitting&mdash;which is seldom.</p>
+
+<p class="hang">Don't mention the reporters, singly or collectively,
+unless it is necessary. It rarely is.</p>
+
+<p class="hang">Don't qualify the word "unique"; a thing may be
+"unique," but it cannot be "very unique," "quite
+unique," "rather unique," or "more unique."</p>
+
+<p class="hang">Don't use the inverted passive: e. g., "A man was
+given a dinner," "Smith was awarded a medal."</p>
+
+<p class="hang">Don't concoct long and improper titles: Justice
+of the Supreme Court Smith, Superintendent of
+the Insurance Department Jones, Groceryman<span class="pagenum"><a name="Page_293" id="Page_293">[293]</a></span>
+Brown. If the title is long put it after the man's
+name; thus: George Smith, justice of the Supreme
+Court.</p>
+
+<p class="hang">Don't use the verb "occur" with weddings, receptions,
+etc.; they take place by design and never
+unexpectedly.</p>
+
+<p class="hang">Don't say "a number of," if you can help it. Be
+specific.</p>
+
+<p class="hang">Don't use the word "lady" for "woman," or "gentleman"
+for "man."</p>
+
+<p class="hang">Don't say "a man by the name of Smith," but "a
+man named Smith."</p>
+
+<p class="hang">Don't use "depot" for "station"&mdash;railway passenger
+station.<span class="pagenum"><a name="Page_294" id="Page_294">[294]</a></span></p>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+<hr />
+
+<h2><a name="ai" id="ai"></a>APPENDIX I<br />
+<br />
+<small>SUGGESTIONS FOR STUDY</small></h2>
+
+<p>These Suggestions for Study embody the method
+used in the course in News Story Writing in the
+Course in Journalism of the University of Wisconsin.
+The text of the several chapters corresponds
+to the lectures that are given in preparation for, and
+in connection with, the study of the various kinds
+of news stories. These Suggestions for Study correspond
+to the exercises by which the students learn
+the application of the principles embodied in the
+lectures. Hence these suggestions are given mainly
+from the instructor's point of view; however, a
+slight alteration will adapt them to home or individual
+study. Although they give very little practice
+in news gathering, they enable the student to
+gain practice in the writing of news&mdash;in accordance
+with the purpose of this book. The reporter who
+is studying the business in a newspaper office may
+use them to advantage in connection with his regular
+work.<span class="pagenum"><a name="Page_295" id="Page_295">[295]</a></span></p>
+
+
+<p class="c">EXERCISES FOR THE FIRST CHAPTER</p>
+
+<ol>
+<li>Collect clippings of representative news stories,
+printed in the daily papers, to be used as
+models.</li>
+
+<li>Keep a book of tips of expected news in your
+town or city.</li>
+
+<li>Study news stories in your local paper and try
+to determine from what source the original
+news tip came. Try to discover from the story
+the routine of news gathering which furnished
+the facts.</li>
+
+<li>In the same stories try to determine what persons
+were interviewed; frame the questions that
+the reporter might have asked to secure the
+facts. The instructor may impersonate various
+persons in a given news story and have the
+students interview him for the facts; this is
+to assist the student in learning to keep the
+point of view and to keep him from asking
+ridiculous questions.</li>
+
+<li>Try to discover what stories in any newspaper
+are the result of actual reporting by staff reporters&mdash;point
+out where the others come from.</li>
+
+<li>Notice the date line on stories that come from
+the outside, and learn its form.</li>
+</ol>
+
+
+<p class="c">EXERCISES FOR THE SECOND CHAPTER</p>
+
+<ol>
+<li>Watch for local stories that seem to be worth
+sending out; determine what element in them
+makes them worth sending out; calculate how<span class="pagenum"><a name="Page_296" id="Page_296">[296]</a></span>
+far from their source they would be worth
+printing.</li>
+
+<li>Study the news value of stories that are printed
+in the local papers; determine why they were
+printed. Look for the same things in stories
+with date lines in the local papers.</li>
+
+<li>Determine what class of readers any given news
+story would interest.</li>
+
+<li>Notice the time element (timeliness) in newspaper
+stories.</li>
+
+<li>Try to determine the radius of your local paper's
+personal news sources: how near the
+printing office one must live to be worth personal
+mention.</li>
+
+<li>Watch for local stories whose news value depends
+upon the death element, upon a prominent
+name, a significant loss of property, mere
+unusualness, human interest, or personal appeal;
+see what the local papers do with these
+stories and whether the local correspondents
+send them out.</li>
+
+<li>Analyze the nature of the personal appeal in
+stories that are printed only for their personal
+appeal.</li>
+
+<li>Notice how local reasons change the news values
+of local stories.</li>
+
+<li>In any or all of these stories determine what
+the feature is. Distinguish between the fundamental
+incident which the story reports and the
+additional significant feature which enhances
+the news value of the fundamental incident.</li>
+</ol>
+
+
+<p class="c"><span class="pagenum"><a name="Page_297" id="Page_297">[297]</a></span>
+EXERCISES FOR THE THIRD CHAPTER</p>
+
+<ol>
+<li>Run over the Style Book at the end of this
+book; note the essential points in newspaper
+style.</li>
+
+<li>Give the principal rules for the preparation of
+copy.</li>
+
+<li>Glance over the "Don'ts" in the Style Book.</li>
+</ol>
+
+<p class="c">EXERCISES FOR THE FOURTH CHAPTER</p>
+
+<ol>
+<li>Study the form and construction of news stories,
+especially simple fire stories.</li>
+
+<li>Pick out the feature of each story&mdash;the additional
+incident in the story which increases the
+news value of the story itself&mdash;and see if the
+striking feature has been played up to best advantage.</li>
+
+<li>Notice how the reader's customary questions&mdash;what,
+where, when, who, how, and why&mdash;are
+answered in the lead. Make a list of the answers
+in any given story.</li>
+</ol>
+
+<p class="c">EXERCISES FOR THE FIFTH CHAPTER</p>
+
+<ol>
+<li>Collect good fire stories appearing in the newspapers.
+Study the construction of the lead
+and the order in which the facts are presented
+in the body of each story.</li>
+
+<li>Write the leads of fire stories. The chances
+are that actual fires will seldom occur at the
+time when the student wishes to study the<span class="pagenum"><a name="Page_298" id="Page_298">[298]</a></span>
+writing of fire stories, but the instructor may
+give his class, orally or in writing, the facts
+of a fire story. He may use imaginary facts
+or he may take the facts from a story clipped
+from a newspaper&mdash;the latter method is better
+because it enables the instructor to show the
+students, after they have written their stories,
+just how the original story was written in the
+newspaper office. The facts should be given
+in the order in which a reporter would probably
+secure them in actual reporting so that
+the student may learn to sort and arrange the
+facts that he wishes to use, and to select the
+feature. The instructor may even impersonate
+different persons connected with the story
+and have the class interview him for the facts.
+This method is to be followed throughout the
+whole study of news story writing. (In individual
+study, practice may be secured from
+writing up imaginary or real facts.)</li>
+
+<li>In these first fire stories, use fires that have no
+interest beyond the interest in the fire itself&mdash;that
+is, no feature. Begin the story with "Fire"
+and devote the lead to answering the reader's
+customary questions.</li>
+
+<li>Look for newspaper fire stories that are not
+correctly written and reconstruct the lead according
+to the logic of the fire lead. That is,
+strive for conciseness and cut out details that
+do not properly belong in the lead.</li>
+
+<li>Make a list of the reader's customary questions<span class="pagenum"><a name="Page_299" id="Page_299">[299]</a></span>
+concerning any fire and write out the briefest
+possible answers. Then construct a lead to
+embody these answers. Determine which answer
+should come first and which last, according
+to importance.</li>
+
+<li>Write the bodies of some of these stories. First
+list the facts that are to be presented and determine
+the order of their importance.</li>
+
+<li>Emphasize the separateness and completeness
+of the two parts of the story&mdash;the lead and the
+body of the story. Test the leads to see if
+they would be clear in themselves without further
+explanation.</li>
+
+<li>Strive for brevity, conciseness and clearness;
+wage war on all attempts at fine writing.</li>
+</ol>
+
+<p class="c">EXERCISES FOR THE SIXTH CHAPTER</p>
+
+<ol>
+<li>Study fire stories which have features&mdash;an interest
+beyond the mere fire itself&mdash;and see how
+the newspapers write them.</li>
+
+<li>In a feature fire story of Class I., make a list
+of the reader's customary questions concerning
+the fire, as if it were a simple fire story,
+and a list of the answers. See if any answer
+is more interesting than the fire itself, or if
+its presence makes the story more interesting.
+Show that such an answer is the feature.</li>
+
+<li>Write fire stories with features in some one
+of the reader's customary answers. (Class I.)</li>
+
+<li>Study a simple fire story and try to imagine<span class="pagenum"><a name="Page_300" id="Page_300">[300]</a></span>
+what things&mdash;properly answers to the reader's
+customary questions&mdash;might happen to give the
+fire greater news value. This will show the student
+how to look for the feature of a story.</li>
+
+<li>Write the lead of any fire story in as many
+different ways as possible, striving in each one
+to play up the same feature.</li>
+
+<li>Study a simple fire story and try to imagine
+what unexpected things might occur in connection
+with the fire which would be of greater
+interest than the fire itself. Show that these
+would be features and that they do not fall
+within the answers to the reader's customary
+questions&mdash;i. e., they are unexpected.</li>
+
+<li>Write fire stories with features in unexpected
+attendant circumstances.</li>
+
+<li>Make up lists of dead and injured; notice how
+the newspapers arrange and punctuate these
+lists.</li>
+
+<li>Study fire stories with more than one feature.
+Work out the possibilities in any given fire
+along these lines.</li>
+
+<li>Write fire stories in which there is more than
+one feature worth a place in the lead. Try
+various combinations in the lead to discover
+the happiest arrangement. Show how one of
+many striking features may be of so much
+importance as to drive the other features entirely
+out of the lead.</li>
+</ol>
+
+<p class="c"><span class="pagenum"><a name="Page_301" id="Page_301">[301]</a></span>
+EXERCISES FOR THE SEVENTH CHAPTER</p>
+
+<ol>
+<li>Count the number of words in the sentences
+and paragraphs of representative newspaper
+stories.</li>
+
+<li>Practice writing fire leads that might be printed
+alone without the rest of the story.</li>
+
+<li>Take a fire lead and experiment with various
+beginnings to show the possibilities:
+<ul>
+<li class="li2">a. Noun&mdash;experiment with and without articles.</li>
+<li class="li2">b. Infinitive&mdash;Distinguish infinitives in "to"
+and in "-ing."</li>
+<li class="li2">c. <em>That</em> clause.</li>
+<li class="li2">d. Prepositional phrase.</li>
+<li class="li2">e. Temporal clause.</li>
+<li class="li2">f. Causal clause.</li>
+<li class="li2">g. Others.</li>
+</ul>
+Show that any of these beginnings may be
+used in the playing up of any one feature.
+</li>
+
+<li>Study how a name may overshadow an interesting
+story; determine when a name is worth
+first place in a lead. Study the practice of representative
+papers in this&mdash;do not hesitate to
+show how a paper has been illogical in beginning
+certain stories with an unknown name,
+for everything one sees in a newspaper is not
+ipso facto good usage in newspaper writing.</li>
+
+<li>In students' stories, notice what the principal
+verb says and point out any misplaced emphasis.</li>
+
+<li><span class="pagenum"><a name="Page_302" id="Page_302">[302]</a></span>
+Wage war on "was the unusual experience of"
+and "was the fate of" in leads.</li>
+
+<li>Try to avoid "broke out" in fire leads. Devote
+the space to more interesting action.</li>
+
+<li>Cut out all useless words in students' exercises;
+strive for brevity. Go through a student's
+story and weigh the value of each word, phrase,
+and sentence; cut out the useless ones or try
+to express them more briefly. Do the same to
+actual newspaper stories.</li>
+
+<li>Weigh the value of every detail introduced
+into a lead and cut out the unnecessary ones;
+relegate them to the rest of the story.</li>
+
+<li>Wage war on all meaningless generalities; demand
+exactness.</li>
+
+<li>Refer the class to the Style Book in this volume
+and require them to follow a uniform
+style. Point out the differences in style of
+various papers.</li>
+
+<li>See if the bodies of students' stories mean anything
+without the presence of the leads. Require
+the body of the story to be separate and
+complete in itself. This need not, of course,
+be carried to the point of repeating addresses
+given in the lead.</li>
+
+<li>Try writing a story by simply elaborating and
+explaining the details mentioned in the lead of
+the story. Determine what facts must be
+added.</li>
+
+<li>See if any story can stand the loss of its last<span class="pagenum"><a name="Page_303" id="Page_303">[303]</a></span>
+paragraph. Determine how many paragraphs
+it can lose without sacrificing its interest.</li>
+
+<li>In writing the body of a fire story, list the facts
+that are to be told, in their logical order; thus:
+origin, discovery, spread, death of firemen, escapes,
+injuries, rescues, explosion, extinguishing
+of fire. Number them in the order of their
+importance. Try to build a story out of these
+by following the logical order and at the same
+time crowding the most interesting facts to the
+beginning.</li>
+
+<li>Practice getting the facts of a story by means
+of interviews. The instructor may have the
+students determine what persons they wish to
+interview for the facts and the instructor may
+impersonate these persons in turn. The class
+may then write the story from the facts gained
+in this way without reference to the interviews.
+This is for selecting and arranging facts in
+their logical order.</li>
+
+<li>Practice the use of dialogue in stories. Judge
+its effectiveness and show that in most cases it
+is well to avoid dialogue.</li>
+
+<li>Practice rewriting long stories into short press
+dispatches of 150 words or less, considering the
+different news value.</li>
+</ol>
+
+<p class="c">EXERCISES FOR THE EIGHTH CHAPTER</p>
+
+<ol>
+<li>Collect clippings of other kinds of news stories.<span class="pagenum"><a name="Page_304" id="Page_304">[304]</a></span></li>
+
+<li>In writing these other stories use the fire story
+as a model; the facts may be presented as they
+were in the fire story.</li>
+
+<li>Study the possible features in accident stories;
+write accident stories with various features;
+make lists of dead and injured.</li>
+
+<li>Study and write robbery stories with various
+features; distinguish between the various names
+applied to robbery and to the people who rob.</li>
+
+<li>Study and write murder and suicide stories
+with various features, striving in each case to
+give the facts without shocking the reader.
+Show how the featureless murder or suicide
+story is very much like a featureless fire story.</li>
+
+<li>Study and write riot, storm, flood, and other
+big stories.</li>
+
+<li>In the study of police court news have the class
+go to the local police courts and report actual
+cases.</li>
+
+<li>Send the students to report meetings. Report
+conferences, decisions, etc. Insist that the story
+begin with the gist of the report in each case
+and never with explanations.</li>
+
+<li>Write stories on bulletins, catalogues, city directories,
+etc. Study them with reference to
+their timeliness and try to discover what in
+them has the most news value. Require the
+student to begin with this element of news
+value and to give the source (the name and
+date of the bulletin, etc.) in the lead.</li>
+
+<li>Look over the daily papers and pick out news<span class="pagenum"><a name="Page_305" id="Page_305">[305]</a></span>
+stories which bury the gist of their news and
+have the students rewrite the leads to play up
+the real news or to give greater emphasis to
+buried features.</li>
+</ol>
+
+<p class="c">EXERCISES FOR THE NINTH CHAPTER</p>
+
+<ol>
+<li>Collect good examples of the follow-up and the
+rewrite story; follow one important story
+through several days' editions to see how it is
+rewritten day by day. Examine an afternoon
+paper's version of a story covered in a
+morning paper.</li>
+
+<li>Take any news story and work out the follow-up
+possibilities; imagine what the next step in
+the story will be.</li>
+
+<li>On this basis, write follow-up stories and rewrite
+stories.</li>
+
+<li>Write a follow-up story which, while beginning
+with a new feature, retells the original story.</li>
+
+<li>Study and write follow-up stories involving
+fires, accidents, robberies, murders, suicides,
+storms (present condition), etc.</li>
+</ol>
+
+<p class="c">EXERCISES FOR THE TENTH CHAPTER</p>
+
+<ol>
+<li>Collect good examples of speech reports.</li>
+
+<li>Take notes on oral speeches and write reports
+of varying lengths. Practice taking notes in
+the proper way and write the report at once&mdash;perhaps
+as an impromptu in class. The instructor
+may send his students to public lectures<span class="pagenum"><a name="Page_306" id="Page_306">[306]</a></span>
+or read representative speeches to them
+in class.</li>
+
+<li>Write reports of speeches from printed copies
+of the speech; that is, edit them in condensed
+form.</li>
+
+<li>Take one lead and experiment with different
+beginnings, playing up the same idea in each
+case.</li>
+
+<li>Discuss speeches to determine the newsiest and
+timeliest thing in the speech&mdash;the statement to
+be played up in the lead.</li>
+
+<li>In the body of the report try to use as much
+direct quotation as possible, use complete sentence
+quotations, do not mix quotation and
+summary in the same paragraph or sentence.
+Study the rules regarding the use of quotation
+marks.</li>
+
+<li>Have the students write running reports of
+speeches&mdash;that is, have them write their report
+as they listen to the speech and submit their
+report in this form. Naturally the lead must
+be written later.</li>
+</ol>
+
+<p class="c">EXERCISES FOR THE ELEVENTH CHAPTER</p>
+
+<ol>
+<li>Collect representative interview stories.</li>
+
+<li>Have students interview various people without
+the aid of a note book; have them bring
+back quoted statements by the use of their
+memory. Have them interview some one who
+will criticize their manner and method.<span class="pagenum"><a name="Page_307" id="Page_307">[307]</a></span></li>
+
+<li>Have a definite reason or timeliness for every
+interview&mdash;have the student map out a definite
+campaign beforehand. Try writing out the
+questions beforehand in shape to fill in the answers.</li>
+
+<li>Write interview stories from the results of
+these attempts.</li>
+
+<li>Begin the same interview story in various ways.</li>
+
+<li>Write an interview story in which the feature
+is a denial or a refusal to speak; tell what
+should have been said and what the denial or
+refusal signifies.</li>
+
+<li>Study the form of the body of the report (see
+Speech Reports).</li>
+
+<li>Write stories which are the result of several
+interviews on the same subject; arrange them
+informally and formally.</li>
+</ol>
+
+<p class="c">EXERCISES FOR THE TWELFTH CHAPTER</p>
+
+<ol>
+<li>Collect examples of good court reports.</li>
+
+<li>Attend and report actual cases in the local
+courts (preferably civil courts).</li>
+
+<li>Determine what is the most interesting thing
+in each.</li>
+
+<li>From this, write court reports&mdash;reports of the
+cases which the students have heard.</li>
+
+<li>Experiment with the various beginnings for
+the same report.</li>
+
+<li>Try summarizing a case in one paragraph.</li>
+
+<li>Practice getting down testimony verbatim.<span class="pagenum"><a name="Page_308" id="Page_308">[308]</a></span></li>
+
+<li>Practice summarizing testimony in indirect
+form.</li>
+
+<li>Practice writing out the testimony in full in
+the various ways.</li>
+
+<li>Write testimony with action in it for the sake
+of human interest.</li>
+
+<li>Show how all of these may be combined into
+one good court report.</li>
+</ol>
+
+<p class="c">EXERCISES FOR THE THIRTEENTH CHAPTER</p>
+
+<ol>
+<li>Notice how various newspapers treat social
+news; study the reason in each case; collect
+examples.</li>
+
+<li>List the facts of a wedding story; write short
+and long wedding stories.</li>
+
+<li>Write wedding announcements, beginning in
+various ways.</li>
+
+<li>Write engagement announcements.</li>
+
+<li>Write up receptions, banquets, dinners, etc.;
+report actual functions.</li>
+
+<li>Write announcements for the same functions.</li>
+
+<li>Write up some unusual social story as a news
+story.</li>
+
+<li>Practice writing obituaries and simple death
+stories with accompanying obituary. Write
+sketches of the lives of prominent people.</li>
+
+<li>In these exercises use actual events as subjects.</li>
+</ol>
+
+<p class="c">EXERCISES FOR THE FOURTEENTH CHAPTER</p>
+
+<ol>
+<li>Study sporting stories for their material and
+method.<span class="pagenum"><a name="Page_309" id="Page_309">[309]</a></span></li>
+
+<li>Report a football game or some other sporting
+event.</li>
+
+<li>Make a running account of a football or baseball
+game.</li>
+
+<li>Write a brief summary of the game to be sent
+out as a dispatch, limiting it to 150 words.</li>
+
+<li>Write up the same game in 200-300 words;
+attach a condensed running account of the same
+length.</li>
+
+<li>Write a long story of the same game, following
+the outline given in the text; attach a detailed
+running account by periods or innings;
+compile tables of players and results for the
+end.</li>
+
+<li>The study of sporting news may be taken out
+of its logical place and studied during the baseball
+or football season.</li>
+</ol>
+
+<p class="c">EXERCISES FOR THE FIFTEENTH CHAPTER</p>
+
+<ol>
+<li>Collect human interest and newspaper feature
+stories.</li>
+
+<li>Watch for material for human interest stories;
+look at the facts in your other news stories
+in a sympathetic way and see how they could
+be made into human interest stories.</li>
+
+<li>Write human interest stories on facts given
+by the instructor and on facts discovered by the
+students.</li>
+
+<li>Write animal stories, and witty comments on
+the weather.<span class="pagenum"><a name="Page_310" id="Page_310">[310]</a></span></li>
+
+<li>Write up some timely local subject as a 1500-word
+feature story.</li>
+</ol>
+
+<p class="c">EXERCISES FOR THE SIXTEENTH CHAPTER</p>
+
+<ol>
+<li>Gather good theatrical reports and watch for
+those in which the whole report is written
+around a single idea.</li>
+
+<li>At the theater watch for things to comment
+on; try to bring away one definite idea about
+the play&mdash;with illustrations.</li>
+
+<li>Write dramatic criticisms that are the embodiment
+of a single idea or criticism on the play.</li>
+
+<li>Try to point out the bad things in a play without
+being bitter or personal.</li>
+
+<li>Write a half-column of copy on a vaudeville
+show, supposing that the copy is paid for and
+must praise, not only the show as a whole,
+but each individual act.</li>
+</ol>
+
+<p class="c">EXERCISES FOR THE SEVENTEENTH CHAPTER</p>
+
+<ol>
+<li>Notice the form and punctuation of the date
+line: MADISON, Wis., Feb. 29.&mdash;</li>
+
+<li>Notice the writing of street addresses: 234
+Grand avenue, 4167 Twenty-sixth street; 3857
+138th street; (without "at").</li>
+
+<li>Notice in the use of figures&mdash;sums of money,
+hours of day, ages, figures at the beginning of
+sentence.</li>
+
+<li>Notice use of titles; use of Mr. before a man's
+name&mdash;always give a man's initials or first
+name the first time you mention it in any story.</li>
+</ol>
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_311" id="Page_311">[311]</a></span>
+<a name="aii" id="aii"></a>APPENDIX II<br />
+<br />
+<small>NEWS STORIES TO BE CORRECTED</small></h2>
+
+<p>(The following stories have been prepared
+to illustrate some of the most usual
+mistakes in newspaper writing. They
+may be rewritten or used as exercises in
+copy-reading. As a class exercise, the student
+may revise and correct these stories
+<em>without recopying</em>, just as a copy-reader
+revises poorly written copy.)</p>
+
+
+<div class="block3">
+
+<p class="c nt nb lh"><big>I</big></p>
+
+<p class="lh">Shortly after 2:30 this morning fire
+
+broke out in a pile of old papers in the
+
+basement of the Harmony Flat building,
+
+at 1356 Congress avenue, a four-story
+<span class="pagenum"><a name="Page_312" id="Page_312">[312]</a></span>
+eight-apartment structure. Two firemen
+
+were killed by a falling wall.</p>
+
+
+<p class="lh"><span style="line-height: 4em;">The fire had a good start before the
+
+janitor, Michael Jones, who sleeps in the
+
+basement, awoke. He turned in an alarm
+
+and ran through the halls awakening the
+
+occupants. The people on the two lower
+
+floors escaped in their night clothing by
+
+the stairways, but the fire spread very rapidly,
+
+the occupants of the upper floors being
+
+forced to flee down the fire escapes in
+
+the rear.</span></p>
+
+
+<p class="lh">When the firemen put in an appearance,
+
+Mrs. Jeanette Huyler appeared at a third
+<span class="pagenum"><a name="Page_313" id="Page_313">[313]</a></span>
+story window and called for help. An extension
+
+ladder being hoisted, she was rescued
+
+without difficulty. During the fire
+
+the wall on the east side fell and killed
+
+Fireman John Casey and Jacob Hughes;
+
+Fireman Williams Jacobs was hit on the
+
+head by a brick and seriously injured.</p>
+
+
+<p class="lh">The fire was extinguished before it
+
+spread to an adjoining three-story flat
+
+building on the west.</p>
+
+
+<p class="lh">The firemen in searching the ruins
+
+found the body of a man who was later
+
+identified as Rupert Smithers; he was 70
+
+and occupied a lower flat by himself. The
+<span class="pagenum"><a name="Page_314" id="Page_314">[314]</a></span>
+janitor said that he was deaf and probably
+
+did not hear the warning. The three
+
+dead and injured firemen belong to Hose
+
+Co. No.&nbsp;24.</p>
+
+
+<p class="lh">Loss $50,000, fully insured.</p>
+
+
+<hr class="hr6" />
+
+
+<p class="c nt nb lh"><big>II</big></p>
+
+<p class="lh">The police have arrested John Johnson,
+
+23 years old, 2367 Sixth Street, charged
+
+with murdering Mrs. Laura Buckthorn,
+
+the well-known proprietor of the Duchess
+
+Restaurant, 438 High street. He is now
+
+in the county jail.</p>
+
+
+<p class="lh">Mrs. Buckthorn was sixty years old and
+<span class="pagenum"><a name="Page_315" id="Page_315">[315]</a></span>
+the widow of one of the oldest settlers in
+
+the city.</p>
+
+
+<p class="lh">She lived in her small cottage at 2367
+
+Sixth Street and supported herself by
+
+means of the restaurant. John Johnson, a
+
+street car motorman occupied a room in
+
+her cottage. Mrs. Buckthorn was found
+
+dead in her bed, in a pool of blood, with
+
+two bullet holes in her head this morning.
+
+Mrs. Grady, the restaurant cook said, "I
+
+became alarmed when Mrs. Buckthorn did
+
+not appear as usual at the restaurant this
+
+morning and went to her home to find
+
+her."</p>
+
+
+<p class="lh">
+<span class="pagenum"><a name="Page_316" id="Page_316">[316]</a></span>
+Inquiry showed that Mrs. Buckthorn
+
+had drawn $250 from the First National
+
+Bank yesterday and her daughter, Mrs.
+
+J. D. Jackson, 1548 Sixth Street, says that
+
+her mother often kept such sums of money
+
+at home under the mattress of her bed.
+
+Mrs. Jackson also says that she often
+
+warned her mother against such habits.
+
+The money was not under the mattress
+
+this morning.</p>
+
+
+<p class="lh">Further inquiry showed that John Johnson
+
+did not appear for work as usual this
+
+morning and was later found by Policeman
+
+Patrick O'Hara in the railroad yards.<span class="pagenum"><a name="Page_317" id="Page_317">[317]</a></span>
+
+He had with him $223.67 and a ticket to
+
+New York. He was known to be hard up
+
+but refused to account for the money and
+
+was given a berth in the county jail.</p>
+
+
+<p class="lh">Samuel Benson, cashier of the First National,
+
+is sure that the two 100-dollar
+
+bills which were found on Johnson are the
+
+same bills that he gave to Mrs. Buckthorn
+
+yesterday afternoon. Johnson will be
+
+given a hearing to-morrow but it is already
+
+considered certain that he is the
+
+guilty party, the evidence being so strong.</p>
+
+
+<p class="lh">(This story may be rewritten for local
+use and for a dispatch.)</p>
+
+
+<hr class="hr6" />
+
+<p class="c nt nb lh"><span class="pagenum"><a name="Page_318" id="Page_318">[318]</a></span>
+<big>III</big></p>
+
+<p class="lh">Sparks, resulting from the grounding
+
+of an electric wire, ignited a bucket of gasolene
+
+and fired the shop of the G. W.
+
+Smith Motor Co., at 228, 232 West street
+
+last night, five automobiles valued at
+
+$5,800 being destroyed and the building
+
+being damaged to the extent of 6,200 dollars
+
+by fire.</p>
+
+
+<p class="lh">The insulation on the wires of an extension
+
+light that Edward Flasch, one of the
+
+repair men was using became cracked, the
+
+wire grounding as a result. The sparks<span class="pagenum"><a name="Page_319" id="Page_319">[319]</a></span>
+fell into a bucket of gasolene standing
+
+nearby and in a few minutes the entire
+
+building was ablaze. G. W. Smith, proprietor
+
+of the garage, said that he was sitting
+
+in his office at the time of the explosion
+
+and tried to put the fire out with sand
+
+but could not get the blaze under any control.
+
+He then started to run out as many
+
+machines as possible.</p>
+
+
+<p class="lh">Six cars, valued at $9,000 were saved.</p>
+
+
+<hr class="hr6" />
+
+<p class="c nt nb lh"><big>IV</big></p>
+
+<p class="lh">Madison, September 25th, 1912; With
+
+a loud deafening roar that violently
+<span class="pagenum"><a name="Page_320" id="Page_320">[320]</a></span>
+aroused hundreds from their beds of slumber
+
+the monster gas holder occuppying
+
+the southwest corner of South Blount and
+
+Main Streets at the gasplant of the Madison
+
+Gas and Electric Company collapsed
+
+very suddenly at 6:sO a. m. this morning,
+
+and now lies partly submerged in water,
+
+a total wreck. The damage will be fully
+
+25,000 dollars, but there will be no interruption
+
+to the service the company's excellent
+
+reserve equippment being immediately
+
+brought into action for the emergency.
+
+The cause of the explosion was at first
+
+clothed in deep mystery before the officials
+<span class="pagenum"><a name="Page_321" id="Page_321">[321]</a></span>
+of the company had time to make any investigation.</p>
+
+
+<p class="lh">However it was definitely ascertained
+
+during the morning when Mr. John W.
+
+Jackson, the secretary and treasurer of the
+
+company, being interviewed by a Daily
+
+News correspondent this morning, stated
+
+that the immense quantities of snow on
+
+the roof of the holder was primarily responsible.
+
+The weight of the snow on
+
+one side of the holder causing it to drop
+
+down broke the wheel and pushed the
+
+holder off the foundation on which it was
+
+standing. There was a momentary blaze
+<span class="pagenum"><a name="Page_322" id="Page_322">[322]</a></span>
+but when the tank settled down into the
+
+reservoir below the fire went out and the
+
+awful peril from this highly dangerous
+
+source was fortunately averted.</p>
+
+
+<p class="lh">As it was dozens of windows at the
+
+planing mill on the opposite side of the
+
+street were all left intact. In fact no damage
+
+whatsoever outside of the holder resulted
+
+from the unfortunate accident.
+
+Two workmen, Jacob Casey and Nelson
+
+Jones, were unfortunately caught beneath
+
+the wreckage and their bodies were
+
+removed later in the morning by the fire
+
+department. The tank was full when it
+<span class="pagenum"><a name="Page_323" id="Page_323">[323]</a></span>
+collapsed and that it did not scatter destruction
+
+and take more innocent lives
+
+was one of the fortunate features of the
+
+accident and a great cause for congratulation
+
+among the officials of the company
+
+today.</p>
+
+
+<p>(This story illustrates, among other
+things, excessive wordiness.)</p>
+
+<hr class="hr6" />
+
+
+<p class="c nt nb lh"><big>V</big></p>
+
+<p class="lh">After being chased by a young woman
+
+for several blocks, a man who gave his
+
+name as John Weber, was pursued through
+
+a saloon at 11-97th street by Policeman
+
+Arthur Brown and captured on the roof of
+<span class="pagenum"><a name="Page_324" id="Page_324">[324]</a></span>
+a building adjoining the saloon, where the
+
+man had hidden behind a chimney. Weber
+
+was arrested by the policeman and is held
+
+on a charge preferred by Charles Young, a
+
+grocer at 2145 Sixth avenue, of attempting
+
+to rob Young's grocery store.</p>
+
+
+<p class="lh">According to Young, just before he
+
+closed his store for the night last evening,
+
+a young man entered the store and asked
+
+for a pound of butter. "I thought," said
+
+Young, "that the man was just married
+
+and might be a possible new customer. I
+
+started for the back of the store to open a
+
+new tub but just as I turned to go, he hit
+<span class="pagenum"><a name="Page_325" id="Page_325">[325]</a></span>
+me over the head with his cane. The
+
+blow dazed me but I still had sense enough
+
+to grab him by the collar. In the fight we
+
+both fell through the glass door at the
+
+front of the store and the d&mdash;n rascal got
+
+away." A young woman, who was passing
+
+the store, seeing the fracas, screamed
+
+and started to run after the young man.
+
+She followed him until he ran into a saloon.
+
+Then she ran up to Policeman
+
+Brown, who was standing at the corner of
+
+97th st. and Sixth-av and told him that a
+
+robber had gone into the saloon. The policeman
+
+ran into the saloon, but found the
+<span class="pagenum"><a name="Page_326" id="Page_326">[326]</a></span>
+man had left by the back stairs. The policeman
+
+followed up two flights of stairs
+
+leading to the roof, on the run, where he
+
+found Weber hiding behind a chimney.
+
+Weber refused to give his address.</p>
+
+
+<p class="lh">After watching until she saw the robber
+
+taken away in the paddy-wagon, the
+
+doughty young woman disappeared. Her
+
+name is unknown.</p>
+
+<hr class="hr6" />
+
+<p class="c nt nb lh"><big>VI</big></p>
+
+<p class="lh">A burglar dressed in a Salvation Army
+
+uniform was arrested for attempting to
+
+burglarize Walter White's home, 16 West<span class="pagenum"><a name="Page_327" id="Page_327">[327]</a></span>
+
+62nd st. at about two o'clock last night.
+
+He gave his name as Julius Woll and his
+
+address as 129 23rd ave.</p>
+
+
+<p class="lh">The caretaker at Walter White's said
+
+he was awakened at 1 o'clock by the noise
+
+of bureau drawers opening and he at once
+
+phoned to the station. An officer came
+
+and found the would-be burglar under the
+
+bed. After considerable scuffling the man
+
+was arrested and taken to the station.</p>
+
+
+<p class="lh">The Salvation Army denied any connection
+
+with the prisoner but the landlady at
+
+his address said he had two uniforms and
+
+always wore one. He also carried a
+<span class="pagenum"><a name="Page_328" id="Page_328">[328]</a></span>
+prayer book under his arm whenever he
+
+left his room. She also said that he had
+
+resided in her house for six weeks and
+
+owed four weeks board; also that he had
+
+not been there for two weeks. Inquiry
+
+proved that he was out regularly until
+
+three or four in the morning.</p>
+
+<hr class="hr6" />
+
+<p class="c nt nb lh"><big>VII</big></p>
+
+<p class="lh">The wedding of Mr. James Henry,
+
+1463 Seventh Street, and Miss Sarah
+
+Jones, last night at the home of the bride's
+
+parents, at 316 North Johnson Street, was
+
+a brilliant success.</p>
+
+<p class="lh">
+<span class="pagenum"><a name="Page_329" id="Page_329">[329]</a></span>
+Fifty guests were present and the presents
+
+which they brought all but filled the
+
+parlor. After the ceremony a seven-course
+
+banquet was served until 11:30
+
+o'clock. Miss Sadie Jones rendered "The
+
+Rosary" to the accompaniment of Mr.
+
+John Field.</p>
+
+
+<p class="lh">The bride wore a gown of pink taffeta
+
+and carried sweet peas. The bridesmaid,
+
+Lily Swenk, was dressed in white muslin.
+
+The groom and best man, Mr. Arthur
+
+Howles, wore conventional black. Rev.
+
+Stone of the First M. E. church officiated.</p>
+
+
+<p class="lh">The groom is a promising young lawyer
+<span class="pagenum"><a name="Page_330" id="Page_330">[330]</a></span>
+of this city. His bride is one of the
+
+city's leading young society woman, being
+
+deeply interested in the Womans' Suffrage
+
+League. There marriage is the result
+
+of a love affair begun at the university
+
+and is the cause of heart-felt congratulations
+
+from their friends. After a trip
+
+to the Coast, the happy couple will reside
+
+in this city.</p>
+
+<hr class="hr6" />
+
+
+<p class="c nt nb lh"><big>VIII</big></p>
+
+<p class="lh">"What we need in our universities are
+
+sportsmen and not sports," said President
+
+G. E. Gilbert of the Western University,
+<span class="pagenum"><a name="Page_331" id="Page_331">[331]</a></span>
+in the convocation address yesterday afternoon
+
+at four o'clock. "The sportsman
+
+plays for the game, but the sport plays for
+
+the victory."</p>
+
+
+<p class="lh">The President continued, "Before the
+
+battle, and during the battle, the
+
+sportsman can be told from the sport."
+
+It is the actions of the man, he
+
+said, when he is in the test that determine
+
+to which class he belongs. The President
+
+summarized the various college
+
+activities and showed how the two
+
+classes of men appear in each different
+
+activity. And in each, as the President
+<span class="pagenum"><a name="Page_332" id="Page_332">[332]</a></span>
+said, "you can tell the sportsman from the
+
+sport."</p>
+
+
+<p class="lh">"I think that this, the relation between
+
+the sportsman and the sport, is the truest
+
+analogy that can be applied to human life.
+
+Life as a sea, life as a battle, life as a river
+
+in which you must always paddle your
+
+own canoe upstream, life as a hill-climbing
+
+contest&mdash;all these analogies have their
+
+weaknesses. But life as a game is a true
+
+analogy."</p>
+
+
+<p class="lh">The President concluded with a glowing
+
+tribute to our university.</p>
+
+<hr class="hr6" />
+
+<p class="c nt lh"><span class="pagenum"><a name="Page_333" id="Page_333">[333]</a></span>
+<big>IX</big></p>
+
+<p class="c">FAULTY LEADS</p>
+
+<p class="lh">Evading the police by sliding down a
+
+rope fire escape from a hotel window, Joseph
+
+Matus, charged with robbing a lumber
+
+jack of $125, escaped the police
+
+temporily only to be arrested an hour
+
+later at the Chicago, Milwaukee and St.
+
+Paul depot.</p>
+
+
+<hr class="hr6" />
+
+
+<p class="lh">Ignited by the breaking of an electric
+
+lamp, a tank of whiskey containing 7,705
+
+gallons exploded and threw Francis Tab,
+<span class="pagenum"><a name="Page_334" id="Page_334">[334]</a></span>
+120 W. 139th St., thirty feet against the
+
+opposite wall at the E. J. Jimkons Company,
+
+40th street this morning.</p>
+
+
+<hr class="hr6" />
+
+<p class="lh">Fire of unknown origin started in the
+
+big lumber yards owned by Charles Johnson
+
+at 763 Clinton Avenue, yesterday afternoon.
+
+The yards and one million feet
+
+of lumber were totally destroyed. The
+
+entire district between Mitchell street and
+
+the South River was in danger of total
+
+destruction, according to fire Chief Casey.</p>
+
+<hr class="hr6" />
+
+<p class="lh">Fire starting in a shed on West street
+<span class="pagenum"><a name="Page_335" id="Page_335">[335]</a></span>
+caused the total destruction of the First
+
+Baptist church and the death of two firemen
+
+killed by falling walls. Loss $120,000.</p>
+
+
+<hr class="hr6" />
+
+<p class="lh">Trade war is the only probable result
+
+of the abrogation of the Russian treaty,
+
+was the statement of the Hon. Frank J.
+
+Blank, secretary of State, before a large
+
+and enthusiastic audience at the opera
+
+house last evening. 1800 people packed
+
+the building to overflowing.</p>
+
+
+<hr class="hr6" />
+
+<p class="lh">John Jones, a workman, who was
+<span class="pagenum"><a name="Page_336" id="Page_336">[336]</a></span>
+slightly injured when a thousand pounds
+
+of powder exploded and wrecked the
+
+Three-Ex Powder mill last night, was
+
+taken to the St. James hospital.</p>
+
+<hr class="hr6" />
+
+<p class="lh">The presence of mind and coolness of
+
+Mrs. J. B. Sweeny, 758 North Street,
+
+saved little Johnny Sweeny from death
+
+last night when she caught him by the
+
+coattail and dragged him from beneath
+
+the fender of a street car. Mrs. Sweeny
+
+was dragged 50 feet by the car and taken
+
+to the St. Luke's hospital in an ambulance
+
+that was hastily summoned.</p>
+
+
+<hr class="hr6" />
+
+<p class="lh"><span class="pagenum"><a name="Page_337" id="Page_337">[337]</a></span>
+Falling through a street car window
+
+without receiving so much as a bruise was
+
+the unusual experience of Michael Casey
+
+last night on Main Street. Michael was
+
+not intoxicated&mdash;so he says.</p>
+
+<hr class="hr6" />
+
+<p class="lh">Recklessly driving his automobile over
+
+the curb on Smith street, Mr. James
+
+White, who resides at 764 Smith street,
+
+was fatally hurt by a careless chauffeur,
+
+who was unable to handle his machine
+
+and skidded at the corner near Mr.
+
+White's home.</p>
+
+<hr class="hr6" />
+
+<p class="lh"><span class="pagenum"><a name="Page_338" id="Page_338">[338]</a></span>
+At a meeting of the Sane Fourth committee
+
+in the city library last evening
+
+at seven thirty, it was decided that Smithtown
+
+must pass a law forbidding the sale
+
+and use of cannon crackers.</p>
+</div>
+
+
+<p class="con"><a href="#con">Back to contents</a></p>
+
+
+<hr />
+
+<h2><span class="pagenum"><a name="Page_339" id="Page_339">[339]</a></span>
+<a name="index" id="index"></a>INDEX</h2>
+
+<div class="block3">
+<p class="noi s2">
+<span class="i4">A</span><br />
+<br />
+Abbreviations, <a href="#Page_287"><b>287</b></a>.<br />
+Accidents, <a href="#Page_3"><b>3</b></a>, <a href="#Page_107"><b>107</b></a>&ndash;<a href="#Page_109"><b>109</b></a>, <a href="#Page_291"><b>291</b></a>.<br />
+Accuracy, <a href="#Page_145"><b>145</b></a>, <a href="#Page_168"><b>168</b></a>, <a href="#Page_209"><b>209</b></a>, <a href="#Page_212"><b>212</b></a>, <a href="#Page_290"><b>290</b></a>.<br />
+Addresses, style of, <a href="#Page_278"><b>278</b></a>, <a href="#Page_279"><b>279</b></a>, <a href="#Page_286"><b>286</b></a>, <a href="#Page_288"><b>288</b></a>, <a href="#Page_290"><b>290</b></a>, <a href="#Page_310"><b>310</b></a>.<br />
+Advertising, <a href="#Page_28"><b>28</b></a>.<br />
+Ages, how written, <a href="#Page_286"><b>286</b></a>.<br />
+Animal story, <a href="#Page_253"><b>253</b></a>.<br />
+Announcements, of engagements, <a href="#Page_210"><b>210</b></a>;<br />
+<span class="i1">social, <a href="#Page_212"><b>212</b></a>;</span><br />
+<span class="i1">stories on, <a href="#Page_121"><b>121</b></a>;</span><br />
+<span class="i1">wedding, <a href="#Page_209"><b>209</b></a>.</span><br />
+Article beginning, <a href="#Page_43"><b>43</b></a>, <a href="#Page_80"><b>80</b></a>.<br />
+Assignments, <a href="#Page_5"><b>5</b></a>, <a href="#Page_29"><b>29</b></a>.<br />
+Associated Press, <a href="#Page_10"><b>10</b></a>.<br />
+Association, City Press, <a href="#Page_10"><b>10</b></a>, <a href="#Page_193"><b>193</b></a>.<br />
+Athletic news, <a href="#Page_219"><b>219</b></a>&ndash;<a href="#Page_232"><b>232</b></a>, <a href="#Page_278"><b>278</b></a>, <a href="#Page_283"><b>283</b></a>.<br />
+<br />
+<br />
+<span class="i4">B</span><br />
+<br />
+Baseball stories, <a href="#Page_219"><b>219</b></a>.<br />
+Beat, or run, <a href="#Page_5"><b>5</b></a>, <a href="#Page_29"><b>29</b></a>.<br />
+Beat, or scoop, <a href="#Page_6"><b>6</b></a>, <a href="#Page_30"><b>30</b></a>.<br />
+Beginning of lead, <a href="#Page_80"><b>80</b></a>, <a href="#Page_89"><b>89</b></a>;<br />
+<span class="i1">with article, <a href="#Page_43"><b>43</b></a>, <a href="#Page_80"><b>80</b></a>;</span><br />
+<span class="i1">with name, <a href="#Page_57"><b>57</b></a>, <a href="#Page_85"><b>85</b></a>, <a href="#Page_161"><b>161</b></a>, <a href="#Page_175"><b>175</b></a>, <a href="#Page_180"><b>180</b></a>, <a href="#Page_195"><b>195</b></a>, <a href="#Page_249"><b>249</b></a>;</span><br />
+<span class="i1">with time, <a href="#Page_47"><b>47</b></a>.</span><br />
+Beginnings of court reports, <a href="#Page_195"><b>195</b></a>&ndash;<a href="#Page_200"><b>200</b></a>;<br />
+<span class="i1">of human interest stories, <a href="#Page_244"><b>244</b></a>&ndash;<a href="#Page_250"><b>250</b></a>;</span><br />
+<span class="i1">of interview stories, <a href="#Page_179"><b>179</b></a>&ndash;<a href="#Page_187"><b>187</b></a>;</span><br />
+<span class="i1">of speech reports, <a href="#Page_151"><b>151</b></a>&ndash;<a href="#Page_164"><b>164</b></a>.</span><br />
+Big story, <a href="#Page_5"><b>5</b></a>, <a href="#Page_31"><b>31</b></a>;<br />
+<span class="i1">following&ndash;up of, <a href="#Page_140"><b>140</b></a>;</span><br />
+<span class="i1">handling of, <a href="#Page_116"><b>116</b></a>;</span><br />
+<span class="i1">resulting interviews from, <a href="#Page_176"><b>176</b></a>, <a href="#Page_187"><b>187</b></a>.</span><br />
+Bills, stories on legislative, <a href="#Page_121"><b>121</b></a>.<br />
+Body of the story, <a href="#Page_45"><b>45</b></a>, <a href="#Page_76"><b>76</b></a>;<br />
+<span class="i1">discussion of, <a href="#Page_91"><b>91</b></a>;</span><br />
+<span class="i1">of court reports, <a href="#Page_200"><b>200</b></a>;</span><br />
+<span class="i1">of follow stories, <a href="#Page_129"><b>129</b></a>;</span><br />
+<span class="i1">of human interest stories, <a href="#Page_250"><b>250</b></a>;</span><br />
+<span class="i1">of interview stories, <a href="#Page_185"><b>185</b></a>;</span><br />
+<span class="i1">of news stories, <a href="#Page_122"><b>122</b></a>;</span><br />
+<span class="i1">of obituaries, <a href="#Page_216"><b>216</b></a>;</span><br />
+<span class='pagenum'><a name="Page_340" id="Page_340">[340]</a></span><span class="i1">of speech reports, <a href="#Page_164"><b>164</b></a>.</span><br />
+Book, of tips, <a href="#Page_3"><b>3</b></a>, <a href="#Page_295"><b>295</b></a>;<br />
+<span class="i1">style, <a href="#Page_33"><b>33</b></a>, <a href="#Page_276"><b>276</b></a>&ndash;<a href="#Page_293"><b>293</b></a>.</span><br />
+Box, <a href="#Page_32"><b>32</b></a>, <a href="#Page_188"><b>188</b></a>.<br />
+Break, to, <a href="#Page_31"><b>31</b></a>.<br />
+Brevity, <a href="#Page_13"><b>13</b></a>, <a href="#Page_206"><b>206</b></a>, <a href="#Page_217"><b>217</b></a>, <a href="#Page_231"><b>231</b></a>.<br />
+Brief summary athletic story, <a href="#Page_222"><b>222</b></a>.<br />
+Bulletins, stories on, <a href="#Page_121"><b>121</b></a>.<br />
+Business office, <a href="#Page_28"><b>28</b></a>.<br />
+<br />
+<br />
+<span class="i4">C</span><br />
+<br />
+Capitalization, <a href="#Page_276"><b>276</b></a>&ndash;<a href="#Page_281"><b>281</b></a>.<br />
+Circulation, <a href="#Page_15"><b>15</b></a>, <a href="#Page_28"><b>28</b></a>.<br />
+City editor, <a href="#Page_2"><b>2</b></a>, <a href="#Page_29"><b>29</b></a>.<br />
+City Press Association, <a href="#Page_10"><b>10</b></a>, <a href="#Page_193"><b>193</b></a>.<br />
+Classes of readers, <a href="#Page_16"><b>16</b></a>.<br />
+Clause beginning of lead, <a href="#Page_82"><b>82</b></a>.<br />
+Clean copy, <a href="#Page_30"><b>30</b></a>.<br />
+Clearness, <a href="#Page_91"><b>91</b></a>, <a href="#Page_104"><b>104</b></a>, <a href="#Page_123"><b>123</b></a>.<br />
+Clippings, <a href="#Page_295"><b>295</b></a>.<br />
+Coherence, <a href="#Page_166"><b>166</b></a>, <a href="#Page_266"><b>266</b></a>.<br />
+Column, <a href="#Page_32"><b>32</b></a>.<br />
+Compositor, <a href="#Page_30"><b>30</b></a>.<br />
+Compounds and divisions of words, <a href="#Page_285"><b>285</b></a>.<br />
+Concreteness, <a href="#Page_104"><b>104</b></a>, <a href="#Page_293"><b>293</b></a>.<br />
+Conferences, reports of, <a href="#Page_119"><b>119</b></a>.<br />
+Continued case beginning, <a href="#Page_196"><b>196</b></a>.<br />
+Co&ouml;peration in newsgathering, <a href="#Page_10"><b>10</b></a>, <a href="#Page_193"><b>193</b></a>.<br />
+Copy, <a href="#Page_30"><b>30</b></a>;<br />
+<span class="i1">preparation of, <a href="#Page_289"><b>289</b></a>.</span><br />
+Copyreader, <a href="#Page_29"><b>29</b></a>.<br />
+Copyreading, <a href="#Page_311"><b>311</b></a>.<br />
+Corrected, stories to be, <a href="#Page_311"><b>311</b></a>.<br />
+Correspondent, work of, <a href="#Page_2"><b>2</b></a>;<br />
+<span class="i1">instructions to, <a href="#Page_11"><b>11</b></a>, <a href="#Page_223"><b>223</b></a>.</span><br />
+Court reporting, <a href="#Page_4"><b>4</b></a>;<br />
+<span class="i1">discussion of, <a href="#Page_192"><b>192</b></a>&ndash;<a href="#Page_203"><b>203</b></a>, <a href="#Page_281"><b>281</b></a>.</span><br />
+Cover, to, <a href="#Page_29"><b>29</b></a>.<br />
+Crime, stories on, <a href="#Page_110"><b>110</b></a>&ndash;<a href="#Page_116"><b>116</b></a>.<br />
+Criticism, dramatic, <a href="#Page_259"><b>259</b></a>&ndash;<a href="#Page_275"><b>275</b></a>.<br />
+Crowd, used as feature, <a href="#Page_68"><b>68</b></a>.<br />
+Cub reporter, <a href="#Page_28"><b>28</b></a>.<br />
+Cynicism, <a href="#Page_235"><b>235</b></a>, <a href="#Page_252"><b>252</b></a>.<br />
+<br />
+<br />
+<span class="i4">D</span><br />
+<br />
+Datelines, <a href="#Page_283"><b>283</b></a>, <a href="#Page_310"><b>310</b></a>.<br />
+Dates, how written, <a href="#Page_278"><b>278</b></a>, <a href="#Page_286"><b>286</b></a>, <a href="#Page_290"><b>290</b></a>.<br />
+Day city editor, <a href="#Page_29"><b>29</b></a>.<br />
+Dead, lists of, <a href="#Page_63"><b>63</b></a>.<br />
+Death element, <a href="#Page_3"><b>3</b></a>, <a href="#Page_22"><b>22</b></a>, <a href="#Page_61"><b>61</b></a>, <a href="#Page_73"><b>73</b></a>, <a href="#Page_107"><b>107</b></a>.<br />
+Decisions, reports of, <a href="#Page_119"><b>119</b></a>.<br />
+Definiteness, <a href="#Page_104"><b>104</b></a>.<br />
+Desk man, <a href="#Page_29"><b>29</b></a>.<br />
+<span class='pagenum'><a name="Page_341" id="Page_341">[341]</a></span>Despatch, <a href="#Page_12"><b>12</b></a>, <a href="#Page_222"><b>222</b></a>.<br />
+Dialogue, use of, <a href="#Page_103"><b>103</b></a>;<br />
+<span class="i1">in court reports, <a href="#Page_200"><b>200</b></a>;</span><br />
+<span class="i1">in human interest stories, <a href="#Page_245"><b>245</b></a>, <a href="#Page_251"><b>251</b></a>;</span><br />
+<span class="i1">rules for, <a href="#Page_283"><b>283</b></a>.</span><br />
+Dictation of stories, <a href="#Page_298"><b>298</b></a>.<br />
+Diction, <a href="#Page_290"><b>290</b></a>&ndash;<a href="#Page_293"><b>293</b></a>.<br />
+Directories, stories on, <a href="#Page_121"><b>121</b></a>.<br />
+Distance, effect of, <a href="#Page_11"><b>11</b></a>, <a href="#Page_20"><b>20</b></a>.<br />
+Division of words, <a href="#Page_285"><b>285</b></a>.<br />
+<em>Don'ts</em>, in dramatic reporting, <a href="#Page_265"><b>265</b></a>;<br />
+<span class="i1">in general, <a href="#Page_290"><b>290</b></a>;</span><br />
+<span class="i1">in leads, <a href="#Page_85"><b>85</b></a>&ndash;<a href="#Page_90"><b>90</b></a>.</span><br />
+<em>Down</em> style, <a href="#Page_33"><b>33</b></a>.<br />
+Dramatic reporting, <a href="#Page_259"><b>259</b></a>&ndash;<a href="#Page_275"><b>275</b></a>.<br />
+<br />
+<br />
+<span class="i4">E</span><br />
+<br />
+Editing, <a href="#Page_30"><b>30</b></a>, <a href="#Page_144"><b>144</b></a>.<br />
+Editor, <a href="#Page_29"><b>29</b></a>;<br />
+<span class="i1">day or night city, <a href="#Page_2"><b>2</b></a>, <a href="#Page_29"><b>29</b></a>;</span><br />
+<span class="i1">sporting, <a href="#Page_29"><b>29</b></a>, <a href="#Page_219"><b>219</b></a>;</span><br />
+<span class="i1">state, <a href="#Page_2"><b>2</b></a>;</span><br />
+<span class="i1">Sunday, <a href="#Page_29"><b>29</b></a>;</span><br />
+<span class="i1">telegraph, <a href="#Page_2"><b>2</b></a>, <a href="#Page_29"><b>29</b></a>.</span><br />
+Editorial room, <a href="#Page_28"><b>28</b></a>.<br />
+Editorial writers, <a href="#Page_29"><b>29</b></a>.<br />
+Elections, <a href="#Page_3"><b>3</b></a>, <a href="#Page_277"><b>277</b></a>, <a href="#Page_281"><b>281</b></a>, <a href="#Page_288"><b>288</b></a>.<br />
+Emphasis, <a href="#Page_102"><b>102</b></a>.<br />
+Engagement announcements, <a href="#Page_210"><b>210</b></a>.<br />
+Entertainments, reports of, <a href="#Page_210"><b>210</b></a>.<br />
+Exaggeration, <a href="#Page_22"><b>22</b></a>, <a href="#Page_89"><b>89</b></a>.<br />
+Expected news, <a href="#Page_3"><b>3</b></a>.<br />
+<br />
+<br />
+<span class="i4">F</span><br />
+<br />
+Faults in news stories, <a href="#Page_75"><b>75</b></a>&ndash;<a href="#Page_104"><b>104</b></a>.<br />
+Faulty stories to be corrected, <a href="#Page_311"><b>311</b></a>.<br />
+Feature, the, <a href="#Page_27"><b>27</b></a>, <a href="#Page_31"><b>31</b></a>, <a href="#Page_37"><b>37</b></a>, <a href="#Page_41"><b>41</b></a>, <a href="#Page_50"><b>50</b></a>, <a href="#Page_106"><b>106</b></a>&ndash;<a href="#Page_122"><b>122</b></a>, <a href="#Page_125"><b>125</b></a>, <a href="#Page_150"><b>150</b></a>, <a href="#Page_175"><b>175</b></a>, <a href="#Page_195"><b>195</b></a>, <a href="#Page_228"><b>228</b></a>, <a href="#Page_244"><b>244</b></a>, <a href="#Page_266"><b>266</b></a>;<br />
+<span class="i1">crowd as, <a href="#Page_68"><b>68</b></a>;</span><br />
+<span class="i1">death as, <a href="#Page_61"><b>61</b></a>, <a href="#Page_73"><b>73</b></a>;</span><br />
+<span class="i1">exaggeration for, <a href="#Page_89"><b>89</b></a>;</span><br />
+<span class="i1">fire fighting as, <a href="#Page_67"><b>67</b></a>;</span><br />
+<span class="i1"><em>how</em>, <a href="#Page_57"><b>57</b></a>;</span><br />
+<span class="i1">in accident stories, <a href="#Page_107"><b>107</b></a>;</span><br />
+<span class="i1">in football stories, <a href="#Page_219"><b>219</b></a>&ndash;<a href="#Page_232"><b>232</b></a>;</span><br />
+<span class="i1">in human interest stories, <a href="#Page_233"><b>233</b></a>&ndash;<a href="#Page_255"><b>255</b></a>;</span><br />
+<span class="i1">in murder stories, <a href="#Page_114"><b>114</b></a>;</span><br />
+<span class="i1">in police stories, <a href="#Page_118"><b>118</b></a>;</span><br />
+<span class="i1">in robbery stories, <a href="#Page_110"><b>110</b></a>;</span><br />
+<span class="i1">in speech reports, <a href="#Page_150"><b>150</b></a>;</span><br />
+<span class="i1">in suicide stories, <a href="#Page_115"><b>115</b></a>;</span><br />
+<span class="i1">injuries as, <a href="#Page_65"><b>65</b></a>;</span><br />
+<span class="i1">more than one, <a href="#Page_70"><b>70</b></a>;</span><br />
+<span class="i1">playing up of, <a href="#Page_27"><b>27</b></a>, <a href="#Page_31"><b>31</b></a>;</span><br />
+<span class="i1">property threatened as, <a href="#Page_66"><b>66</b></a>;</span><br />
+<span class="i1">rescues as, <a href="#Page_65"><b>65</b></a>;</span><br />
+<span class="i1">unexpected attendant circumstances as, <a href="#Page_60"><b>60</b></a>;</span><br />
+<span class="i1"><em>what</em>, <a href="#Page_55"><b>55</b></a>;</span><br />
+<span class="i1"><em>when</em>, <a href="#Page_54"><b>54</b></a>;</span><br />
+<span class="i1"><em>where</em>, <a href="#Page_52"><b>52</b></a>;</span><br />
+<span class="i1"><em>who</em>, <a href="#Page_57"><b>57</b></a>;</span><br />
+<span class="i1"><em>why</em>, <a href="#Page_51"><b>51</b></a>.</span><br />
+Feature fire story, <a href="#Page_50"><b>50</b></a>&ndash;<a href="#Page_74"><b>74</b></a>.<br />
+Feature social story, <a href="#Page_213"><b>213</b></a>.<br />
+<span class='pagenum'><a name="Page_342" id="Page_342">[342]</a></span>Feature story, the special, <a href="#Page_31"><b>31</b></a>, <a href="#Page_255"><b>255</b></a>.<br />
+Featureless fire story, <a href="#Page_41"><b>41</b></a>&ndash;<a href="#Page_49"><b>49</b></a>.<br />
+Figures, news value of, <a href="#Page_24"><b>24</b></a>;<br />
+<span class="i1">use of, <a href="#Page_283"><b>283</b></a>, <a href="#Page_286"><b>286</b></a>, <a href="#Page_290"><b>290</b></a>.</span><br />
+Fine writing, <a href="#Page_124"><b>124</b></a>, <a href="#Page_213"><b>213</b></a>, <a href="#Page_218"><b>218</b></a>, <a href="#Page_251"><b>251</b></a>.<br />
+Fire story, <a href="#Page_39"><b>39</b></a>, <a href="#Page_41"><b>41</b></a>, <a href="#Page_50"><b>50</b></a>, <a href="#Page_75"><b>75</b></a>, <a href="#Page_105"><b>105</b></a>, <a href="#Page_122"><b>122</b></a>.<br />
+Fires, <a href="#Page_3"><b>3</b></a>, <a href="#Page_4"><b>4</b></a>, <a href="#Page_7"><b>7</b></a>, <a href="#Page_39"><b>39</b></a>, <a href="#Page_41"><b>41</b></a>, <a href="#Page_50"><b>50</b></a>, <a href="#Page_75"><b>75</b></a>, <a href="#Page_105"><b>105</b></a>, <a href="#Page_122"><b>122</b></a>.<br />
+Follow, or follow&ndash;up, story, <a href="#Page_32"><b>32</b></a>;<br />
+<span class="i1">relation of, to court reports, <a href="#Page_197"><b>197</b></a>;</span><br />
+<span class="i1">relation of, to interviews, <a href="#Page_187"><b>187</b></a>;</span><br />
+<span class="i1">writing of, <a href="#Page_125"><b>125</b></a>, <a href="#Page_130"><b>130</b></a>&ndash;<a href="#Page_140"><b>140</b></a>.</span><br />
+Following up related subjects, <a href="#Page_140"><b>140</b></a>.<br />
+Football stories, <a href="#Page_219"><b>219</b></a>&ndash;<a href="#Page_232"><b>232</b></a>.<br />
+Form of the news story, <a href="#Page_34"><b>34</b></a>&ndash;<a href="#Page_40"><b>40</b></a>.<br />
+Freak leads in speech reports, <a href="#Page_163"><b>163</b></a>.<br />
+<br />
+<br />
+<span class="i4">G</span><br />
+<br />
+Gathering the news, <a href="#Page_1"><b>1</b></a>&ndash;<a href="#Page_13"><b>13</b></a>;<br />
+<span class="i1">in athletic reporting, <a href="#Page_230"><b>230</b></a>;</span><br />
+<span class="i1">in court reporting, <a href="#Page_193"><b>193</b></a>;</span><br />
+<span class="i1">in human interest stories, <a href="#Page_234"><b>234</b></a>;</span><br />
+<span class="i1">in interviewing, <a href="#Page_169"><b>169</b></a>;</span><br />
+<span class="i1">in reporting speeches, <a href="#Page_144"><b>144</b></a>.</span><br />
+Generalities, meaningless, <a href="#Page_89"><b>89</b></a>.<br />
+Gist, <a href="#Page_31"><b>31</b></a>, <a href="#Page_36"><b>36</b></a>, <a href="#Page_233"><b>233</b></a>, <a href="#Page_243"><b>243</b></a>, <a href="#Page_266"><b>266</b></a>.<br />
+Grammar, <a href="#Page_78"><b>78</b></a>, <a href="#Page_84"><b>84</b></a>, <a href="#Page_123"><b>123</b></a>.<br />
+Group interviews, <a href="#Page_187"><b>187</b></a>.<br />
+<br />
+<br />
+<span class="i4">H</span><br />
+<br />
+Heads, headlines, <a href="#Page_27"><b>27</b></a>, <a href="#Page_30"><b>30</b></a>, <a href="#Page_78"><b>78</b></a>, <a href="#Page_188"><b>188</b></a>.<br />
+Hospitals, as news sources, <a href="#Page_4"><b>4</b></a>.<br />
+<em>How</em>, feature in, <a href="#Page_57"><b>57</b></a>.<br />
+Human interest stories, <a href="#Page_17"><b>17</b></a>, <a href="#Page_24"><b>24</b></a>, <a href="#Page_32"><b>32</b></a>, <a href="#Page_178"><b>178</b></a>, <a href="#Page_185"><b>185</b></a>, <a href="#Page_191"><b>191</b></a>, <a href="#Page_198"><b>198</b></a>;<br />
+<span class="i1">discussion of, <a href="#Page_233"><b>233</b></a>&ndash;<a href="#Page_255"><b>255</b></a>.</span><br />
+Humor, <a href="#Page_24"><b>24</b></a>, <a href="#Page_198"><b>198</b></a>, <a href="#Page_214"><b>214</b></a>, <a href="#Page_241"><b>241</b></a>.<br />
+Humorous story, <a href="#Page_241"><b>241</b></a>.<br />
+<br />
+<br />
+<span class="i4">I</span><br />
+<br />
+Infinitive beginning of lead, <a href="#Page_81"><b>81</b></a>.<br />
+Injuries, feature in, <a href="#Page_65"><b>65</b></a>;<br />
+<span class="i1">list of, <a href="#Page_64"><b>64</b></a>.</span><br />
+Instructions to correspondents, <a href="#Page_12"><b>12</b></a>.<br />
+Interest, <a href="#Page_14"><b>14</b></a>, <a href="#Page_35"><b>35</b></a>, <a href="#Page_92"><b>92</b></a>, <a href="#Page_102"><b>102</b></a>, <a href="#Page_104"><b>104</b></a>, <a href="#Page_141"><b>141</b></a>, <a href="#Page_179"><b>179</b></a>, <a href="#Page_192"><b>192</b></a>;<br />
+<span class="i1">human, <a href="#Page_17"><b>17</b></a>, <a href="#Page_24"><b>24</b></a>, <a href="#Page_32"><b>32</b></a>, <a href="#Page_178"><b>178</b></a>, <a href="#Page_185"><b>185</b></a>, <a href="#Page_191"><b>191</b></a>, <a href="#Page_198"><b>198</b></a>, <a href="#Page_233"><b>233</b></a>&ndash;<a href="#Page_255"><b>255</b></a>.</span><br />
+Interview stories, <a href="#Page_175"><b>175</b></a>&ndash;<a href="#Page_191"><b>191</b></a>.<br />
+Interviews, for facts, <a href="#Page_6"><b>6</b></a>, <a href="#Page_103"><b>103</b></a>;<br />
+<span class="i1">for opinions, <a href="#Page_6"><b>6</b></a>, <a href="#Page_141"><b>141</b></a>, <a href="#Page_169"><b>169</b></a>&ndash;<a href="#Page_191"><b>191</b></a>;</span><br />
+<span class='pagenum'><a name="Page_343" id="Page_343">[343]</a></span><span class="i1">group, <a href="#Page_187"><b>187</b></a>.</span><br />
+<br />
+<br />
+<span class="i4">K</span><br />
+<br />
+Keynote beginning of speech report, <a href="#Page_158"><b>158</b></a>.<br />
+Killing a story, <a href="#Page_30"><b>30</b></a>.<br />
+<br />
+<br />
+<span class="i4">L</span><br />
+<br />
+Lead, <a href="#Page_31"><b>31</b></a>;<br />
+<span class="i1">beginning of, <a href="#Page_80"><b>80</b></a>, <a href="#Page_89"><b>89</b></a>;</span><br />
+<span class="i1"><em>don'ts</em> in, <a href="#Page_85"><b>85</b></a>&ndash;<a href="#Page_90"><b>90</b></a>;</span><br />
+<span class="i1">in athletic stories, <a href="#Page_223"><b>223</b></a>, <a href="#Page_227"><b>227</b></a>;</span><br />
+<span class="i1">in court reports, <a href="#Page_195"><b>195</b></a>&ndash;<a href="#Page_200"><b>200</b></a>;</span><br />
+<span class="i1">in fire stories, <a href="#Page_39"><b>39</b></a>, <a href="#Page_42"><b>42</b></a>, <a href="#Page_50"><b>50</b></a>, <a href="#Page_77"><b>77</b></a>&ndash;<a href="#Page_90"><b>90</b></a>;</span><br />
+<span class="i1">in follow stories, <a href="#Page_127"><b>127</b></a>&ndash;<a href="#Page_140"><b>140</b></a>;</span><br />
+<span class="i1">in human interest stories, <a href="#Page_233"><b>233</b></a>;</span><br />
+<span class="i1">in interview stories, <a href="#Page_179"><b>179</b></a>&ndash;<a href="#Page_185"><b>185</b></a>, <a href="#Page_188"><b>188</b></a>;</span><br />
+<span class="i1">in obituary stories, <a href="#Page_214"><b>214</b></a>;</span><br />
+<span class="i1">in other news stories, <a href="#Page_106"><b>106</b></a>;</span><br />
+<span class="i1">in speech reports, <a href="#Page_147"><b>147</b></a>&ndash;<a href="#Page_164"><b>164</b></a>;</span><br />
+<span class="i1">length of, <a href="#Page_75"><b>75</b></a>;</span><br />
+<span class="i1">main verb of, <a href="#Page_86"><b>86</b></a>.</span><br />
+Leaded, <a href="#Page_32"><b>32</b></a>.<br />
+Length, of lead, <a href="#Page_75"><b>75</b></a>;<br />
+<span class="i1">of paragraphs, <a href="#Page_75"><b>75</b></a>;</span><br />
+<span class="i1">of sentences, <a href="#Page_76"><b>76</b></a>.</span><br />
+Line&ndash;up of teams, <a href="#Page_232"><b>232</b></a>.<br />
+Linotype, <a href="#Page_30"><b>30</b></a>.<br />
+Lists of dead and injured, <a href="#Page_63"><b>63</b></a>;<br />
+<span class="i1">of guests, patronesses, etc., <a href="#Page_211"><b>211</b></a>, <a href="#Page_282"><b>282</b></a>;</span><br />
+<span class="i1">of names, <a href="#Page_282"><b>282</b></a>.</span><br />
+Local interest, <a href="#Page_21"><b>21</b></a>, <a href="#Page_26"><b>26</b></a>.<br />
+Long football story, <a href="#Page_226"><b>226</b></a>.<br />
+Loss of life, <a href="#Page_22"><b>22</b></a>, <a href="#Page_61"><b>61</b></a>, <a href="#Page_73"><b>73</b></a>;<br />
+<span class="i1">of property, <a href="#Page_23"><b>23</b></a>, <a href="#Page_55"><b>55</b></a>.</span><br />
+<br />
+<br />
+<span class="i4">M</span><br />
+<br />
+Mailing stories, <a href="#Page_13"><b>13</b></a>.<br />
+Main verb of lead, <a href="#Page_86"><b>86</b></a>.<br />
+Make&ndash;up, making up, <a href="#Page_31"><b>31</b></a>, <a href="#Page_37"><b>37</b></a>.<br />
+Manner, reporter's, <a href="#Page_172"><b>172</b></a>.<br />
+Marriages, <a href="#Page_206"><b>206</b></a>.<br />
+Meaningless generalities, <a href="#Page_89"><b>89</b></a>.<br />
+Meetings, reports of, <a href="#Page_3"><b>3</b></a>, <a href="#Page_119"><b>119</b></a>, <a href="#Page_291"><b>291</b></a>.<br />
+Money, sums of, <a href="#Page_281"><b>281</b></a>, <a href="#Page_286"><b>286</b></a>, <a href="#Page_290"><b>290</b></a>.<br />
+Morgue, <a href="#Page_4"><b>4</b></a>, <a href="#Page_216"><b>216</b></a>.<br />
+"Mr.", use of, <a href="#Page_287"><b>287</b></a>, <a href="#Page_292"><b>292</b></a>, <a href="#Page_310"><b>310</b></a>.<br />
+Murders, <a href="#Page_113"><b>113</b></a>.<br />
+<br />
+<br />
+<span class="i4">N</span><br />
+<br />
+Name beginning, in court reports, <a href="#Page_195"><b>195</b></a>;<br />
+<span class="i1">in human interest stories, <a href="#Page_249"><b>249</b></a>;</span><br />
+<span class="i1">in interview stories, <a href="#Page_175"><b>175</b></a>, <a href="#Page_180"><b>180</b></a>;</span><br />
+<span class="i1">in news stories, <a href="#Page_57"><b>57</b></a>, <a href="#Page_85"><b>85</b></a>, <a href="#Page_108"><b>108</b></a>&ndash;<a href="#Page_116"><b>116</b></a>;</span><br />
+<span class="i1">in speech reports, <a href="#Page_161"><b>161</b></a>.</span><br />
+Names, prominent, <a href="#Page_23"><b>23</b></a>, <a href="#Page_57"><b>57</b></a>, <a href="#Page_108"><b>108</b></a>&ndash;<a href="#Page_116"><b>116</b></a>, <a href="#Page_150"><b>150</b></a>, <a href="#Page_161"><b>161</b></a>, <a href="#Page_178"><b>178</b></a>;<br />
+<span class='pagenum'><a name="Page_344" id="Page_344">[344]</a></span><span class="i1">use of, <a href="#Page_276"><b>276</b></a>, <a href="#Page_277"><b>277</b></a>, <a href="#Page_280"><b>280</b></a>&ndash;<a href="#Page_283"><b>283</b></a>.</span><br />
+Narrative order, in athletic stories, <a href="#Page_227"><b>227</b></a>;<br />
+<span class="i1">in court reports, <a href="#Page_200"><b>200</b></a>;</span><br />
+<span class="i1">in human interest stories, <a href="#Page_250"><b>250</b></a>;</span><br />
+<span class="i1">in interview stories, <a href="#Page_185"><b>185</b></a>;</span><br />
+<span class="i1">in news stories, <a href="#Page_34"><b>34</b></a>&ndash;<a href="#Page_40"><b>40</b></a>, <a href="#Page_92"><b>92</b></a>&ndash;<a href="#Page_102"><b>102</b></a>;</span><br />
+<span class="i1">in obituaries, <a href="#Page_215"><b>215</b></a>;</span><br />
+<span class="i1">in speech reports <a href="#Page_166"><b>166</b></a>;</span><br />
+<span class="i1">in wedding stories, <a href="#Page_207"><b>207</b></a>.</span><br />
+News, <a href="#Page_14"><b>14</b></a>&ndash;<a href="#Page_27"><b>27</b></a>, <a href="#Page_125"><b>125</b></a>;<br />
+<span class="i1">agencies for gathering, <a href="#Page_10"><b>10</b></a>, <a href="#Page_193"><b>193</b></a>;</span><br />
+<span class="i1">co&ouml;peration in gathering, <a href="#Page_10"><b>10</b></a>, <a href="#Page_193"><b>193</b></a>;</span><br />
+<span class="i1">expected and unexpected, <a href="#Page_3"><b>3</b></a>;</span><br />
+<span class="i1">gathering of, <a href="#Page_1"><b>1</b></a>&ndash;<a href="#Page_13"><b>13</b></a>, <a href="#Page_144"><b>144</b></a>, <a href="#Page_169"><b>169</b></a>, <a href="#Page_193"><b>193</b></a>, <a href="#Page_230"><b>230</b></a>, <a href="#Page_234"><b>234</b></a>;</span><br />
+<span class="i1">sources of, <a href="#Page_4"><b>4</b></a>, <a href="#Page_29"><b>29</b></a>;</span><br />
+<span class="i1">sporting, <a href="#Page_219"><b>219</b></a>&ndash;<a href="#Page_232"><b>232</b></a>, <a href="#Page_278"><b>278</b></a>, <a href="#Page_283"><b>283</b></a>.</span><br />
+New story, <a href="#Page_34"><b>34</b></a>&ndash;<a href="#Page_124"><b>124</b></a>.<br />
+News story form, <a href="#Page_34"><b>34</b></a>&ndash;<a href="#Page_40"><b>40</b></a>.<br />
+News tips, <a href="#Page_3"><b>3</b></a>, <a href="#Page_30"><b>30</b></a>, <a href="#Page_295"><b>295</b></a>.<br />
+News values, <a href="#Page_11"><b>11</b></a>, <a href="#Page_14"><b>14</b></a>&ndash;<a href="#Page_27"><b>27</b></a>, <a href="#Page_38"><b>38</b></a>, <a href="#Page_41"><b>41</b></a>, <a href="#Page_204"><b>204</b></a>, <a href="#Page_233"><b>233</b></a>.<br />
+Newspaper terms, <a href="#Page_28"><b>28</b></a>&ndash;<a href="#Page_33"><b>33</b></a>.<br />
+Night city editor, <a href="#Page_29"><b>29</b></a>.<br />
+Nose for news, viii.<br />
+Notebook, <a href="#Page_170"><b>170</b></a>.<br />
+Note taking, in athletic reporting, <a href="#Page_230"><b>230</b></a>;<br />
+<span class="i1">in court reporting, <a href="#Page_194"><b>194</b></a>;</span><br />
+<span class="i1">in dramatic reporting, <a href="#Page_267"><b>267</b></a>;</span><br />
+<span class="i1">in interviewing, <a href="#Page_170"><b>170</b></a>;</span><br />
+<span class="i1">in speech reporting, <a href="#Page_144"><b>144</b></a>.</span><br />
+Noun beginning of lead, <a href="#Page_80"><b>80</b></a>.<br />
+<br />
+<br />
+<span class="i4">O</span><br />
+<br />
+Obituaries, <a href="#Page_214"><b>214</b></a>.<br />
+Order of narrative (see Narrative order).<br />
+Outlining of a story, <a href="#Page_99"><b>99</b></a>.<br />
+<br />
+<br />
+<span class="i4">P</span><br />
+<br />
+Paragraph length, <a href="#Page_75"><b>75</b></a>, <a href="#Page_290"><b>290</b></a>.<br />
+Paragraphing, <a href="#Page_48"><b>48</b></a>, <a href="#Page_75"><b>75</b></a>, <a href="#Page_166"><b>166</b></a>, <a href="#Page_186"><b>186</b></a>, <a href="#Page_290"><b>290</b></a>.<br />
+Participial phrase beginning for lead, <a href="#Page_83"><b>83</b></a>, <a href="#Page_158"><b>158</b></a>.<br />
+Parts of a news story, <a href="#Page_46"><b>46</b></a>, <a href="#Page_76"><b>76</b></a>, <a href="#Page_91"><b>91</b></a>.<br />
+Pathetic story, <a href="#Page_238"><b>238</b></a>.<br />
+Pathos, <a href="#Page_24"><b>24</b></a>, <a href="#Page_198"><b>198</b></a>, <a href="#Page_238"><b>238</b></a>.<br />
+Personal appeal, <a href="#Page_25"><b>25</b></a>, <a href="#Page_249"><b>249</b></a>.<br />
+Personal news, <a href="#Page_20"><b>20</b></a>, <a href="#Page_204"><b>204</b></a>.<br />
+Photographs, <a href="#Page_13"><b>13</b></a>.<br />
+Playing up, <a href="#Page_31"><b>31</b></a>;<br />
+<span class="i1">of the feature, <a href="#Page_27"><b>27</b></a>, <a href="#Page_31"><b>31</b></a>.</span><br />
+Point of view of newspaper, <a href="#Page_8"><b>8</b></a>.<br />
+Police court news, <a href="#Page_4"><b>4</b></a>, <a href="#Page_118"><b>118</b></a>.<br />
+Policy, <a href="#Page_26"><b>26</b></a>.<br />
+Political news, <a href="#Page_25"><b>25</b></a>.<br />
+Practice, <a href="#Page_294"><b>294</b></a>.<br />
+Preparation of copy, <a href="#Page_289"><b>289</b></a>.<br />
+Prepositional phrase beginning, <a href="#Page_82"><b>82</b></a>.<br />
+Press Associations, <a href="#Page_10"><b>10</b></a>, <a href="#Page_193"><b>193</b></a>.<br />
+<span class='pagenum'><a name="Page_345" id="Page_345">[345]</a></span>Printed matter, stories on, <a href="#Page_121"><b>121</b></a>.<br />
+Prominent names, <a href="#Page_23"><b>23</b></a>, <a href="#Page_57"><b>57</b></a>, <a href="#Page_108"><b>108</b></a>&ndash;<a href="#Page_116"><b>116</b></a>, <a href="#Page_150"><b>150</b></a>, <a href="#Page_161"><b>161</b></a>, <a href="#Page_178"><b>178</b></a>.<br />
+Proof, <a href="#Page_30"><b>30</b></a>.<br />
+Proofreader's signs, <a href="#Page_32"><b>32</b></a>, <a href="#Page_290"><b>290</b></a>.<br />
+Property losses as features, <a href="#Page_23"><b>23</b></a>, <a href="#Page_55"><b>55</b></a>.<br />
+Property threatened as feature, <a href="#Page_66"><b>66</b></a>.<br />
+Public records, <a href="#Page_4"><b>4</b></a>.<br />
+"Punch," <a href="#Page_13"><b>13</b></a>.<br />
+Punctuation, <a href="#Page_281"><b>281</b></a>.<br />
+Purpose of newspapers, <a href="#Page_14"><b>14</b></a>.<br />
+<br />
+<br />
+<span class="i4">Q</span><br />
+<br />
+Q. &amp; A. testimony, <a href="#Page_201"><b>201</b></a>, <a href="#Page_283"><b>283</b></a>, <a href="#Page_288"><b>288</b></a>.<br />
+Queries, <a href="#Page_12"><b>12</b></a>.<br />
+Questions, reader's customary, as features, <a href="#Page_51"><b>51</b></a>;<br />
+<span class="i1">in fire stories, <a href="#Page_38"><b>38</b></a>, <a href="#Page_42"><b>42</b></a>, <a href="#Page_50"><b>50</b></a>, <a href="#Page_77"><b>77</b></a>;</span><br />
+<span class="i1">in follow stories, <a href="#Page_132"><b>132</b></a>;</span><br />
+<span class="i1">in human interest stories, <a href="#Page_233"><b>233</b></a>;</span><br />
+<span class="i1">in interview stories, <a href="#Page_179"><b>179</b></a>;</span><br />
+<span class="i1">in obituaries, <a href="#Page_215"><b>215</b></a>;</span><br />
+<span class="i1">in other news stories, <a href="#Page_106"><b>106</b></a>;</span><br />
+<span class="i1">in speech reports, <a href="#Page_150"><b>150</b></a>.</span><br />
+Quotation beginnings, direct, <a href="#Page_151"><b>151</b></a>, <a href="#Page_153"><b>153</b></a>, <a href="#Page_183"><b>183</b></a>, <a href="#Page_198"><b>198</b></a>, <a href="#Page_245"><b>245</b></a>;<br />
+<span class="i1">indirect, <a href="#Page_154"><b>154</b></a>.</span><br />
+Quotations, <a href="#Page_103"><b>103</b></a>, <a href="#Page_146"><b>146</b></a>, <a href="#Page_164"><b>164</b></a>, <a href="#Page_186"><b>186</b></a>, <a href="#Page_189"><b>189</b></a>, <a href="#Page_200"><b>200</b></a>, <a href="#Page_284"><b>284</b></a>.<br />
+Quoting, rules for, <a href="#Page_284"><b>284</b></a>.<br />
+<br />
+<br />
+<span class="i4">R</span><br />
+<br />
+Range of news sources, <a href="#Page_20"><b>20</b></a>.<br />
+Readers, classes of, <a href="#Page_16"><b>16</b></a>.<br />
+Reader's customary questions. <em>See</em> Questions.<br />
+Receptions, <a href="#Page_210"><b>210</b></a>, <a href="#Page_291"><b>291</b></a>.<br />
+Rehashing, <a href="#Page_125"><b>125</b></a>&ndash;<a href="#Page_130"><b>130</b></a>.<br />
+Related stories, <a href="#Page_140"><b>140</b></a>, <a href="#Page_176"><b>176</b></a>, <a href="#Page_187"><b>187</b></a>.<br />
+Releasing a story, <a href="#Page_31"><b>31</b></a>, <a href="#Page_144"><b>144</b></a>.<br />
+Reporter, <a href="#Page_2"><b>2</b></a>, <a href="#Page_28"><b>28</b></a>, <a href="#Page_170"><b>170</b></a>, <a href="#Page_186"><b>186</b></a>, <a href="#Page_219"><b>219</b></a>, <a href="#Page_235"><b>235</b></a>, <a href="#Page_258"><b>258</b></a>, <a href="#Page_259"><b>259</b></a>, <a href="#Page_292"><b>292</b></a>.<br />
+Reporting court news, <a href="#Page_192"><b>192</b></a>&ndash;<a href="#Page_202"><b>202</b></a>, <a href="#Page_281"><b>281</b></a>.<br />
+Reports, dramatic, <a href="#Page_259"><b>259</b></a>&ndash;<a href="#Page_275"><b>275</b></a>;<br />
+<span class="i1">of meetings, conferences, decisions, etc., <a href="#Page_119"><b>119</b></a>;</span><br />
+<span class="i1">of speeches, sermons, lectures, etc., <a href="#Page_143"><b>143</b></a>&ndash;<a href="#Page_168"><b>168</b></a>.</span><br />
+Rescues as features, <a href="#Page_65"><b>65</b></a>.<br />
+Rewrite man, <a href="#Page_125"><b>125</b></a>.<br />
+Rewrite story, <a href="#Page_32"><b>32</b></a>, <a href="#Page_125"><b>125</b></a>&ndash;<a href="#Page_130"><b>130</b></a>.<br />
+Robberies, <a href="#Page_110"><b>110</b></a>, <a href="#Page_291"><b>291</b></a>.<br />
+Runs, or beats, <a href="#Page_5"><b>5</b></a>, <a href="#Page_29"><b>29</b></a>.<br />
+Running a story, <a href="#Page_30"><b>30</b></a>.<br />
+Running story, <a href="#Page_31"><b>31</b></a>, <a href="#Page_189"><b>189</b></a>, <a href="#Page_200"><b>200</b></a>, <a href="#Page_223"><b>223</b></a>, <a href="#Page_227"><b>227</b></a>.<br />
+<br />
+<br />
+<span class="i4">S</span><br />
+<br />
+Sarcasm, <a href="#Page_274"><b>274</b></a>.<br />
+<span class='pagenum'><a name="Page_346" id="Page_346">[346]</a></span>Scoop, or beat, <a href="#Page_6"><b>6</b></a>, <a href="#Page_30"><b>30</b></a>.<br />
+Season story, <a href="#Page_257"><b>257</b></a>.<br />
+Second day story, <a href="#Page_32"><b>32</b></a>, <a href="#Page_125"><b>125</b></a>, <a href="#Page_130"><b>130</b></a>&ndash;<a href="#Page_140"><b>140</b></a>.<br />
+Sensationalism, <a href="#Page_18"><b>18</b></a>, <a href="#Page_90"><b>90</b></a>, <a href="#Page_234"><b>234</b></a>.<br />
+Sentence length, <a href="#Page_76"><b>76</b></a>.<br />
+Sermons, reports of, <a href="#Page_3"><b>3</b></a>, <a href="#Page_143"><b>143</b></a>&ndash;<a href="#Page_168"><b>168</b></a>.<br />
+Set up, to, <a href="#Page_30"><b>30</b></a>.<br />
+Simple fire story, <a href="#Page_40"><b>40</b></a>&ndash;<a href="#Page_49"><b>49</b></a>.<br />
+Slang, <a href="#Page_28"><b>28</b></a>, <a href="#Page_292"><b>292</b></a>.<br />
+Slash, to, <a href="#Page_37"><b>37</b></a>, <a href="#Page_92"><b>92</b></a>.<br />
+Slug, <a href="#Page_30"><b>30</b></a>.<br />
+Sob squad, <a href="#Page_236"><b>236</b></a>.<br />
+Social announcements, <a href="#Page_212"><b>212</b></a>.<br />
+Social news, <a href="#Page_204"><b>204</b></a>&ndash;<a href="#Page_214"><b>214</b></a>.<br />
+Sources of news, <a href="#Page_4"><b>4</b></a>, <a href="#Page_29"><b>29</b></a>.<br />
+Speaker beginning, <a href="#Page_161"><b>161</b></a>, <a href="#Page_180"><b>180</b></a>.<br />
+Special feature story, <a href="#Page_255"><b>255</b></a>.<br />
+Speech reports, <a href="#Page_3"><b>3</b></a>, <a href="#Page_143"><b>143</b></a>&ndash;<a href="#Page_168"><b>168</b></a>, <a href="#Page_284"><b>284</b></a>, <a href="#Page_291"><b>291</b></a>.<br />
+Sporting editor, <a href="#Page_29"><b>29</b></a>, <a href="#Page_219"><b>219</b></a>.<br />
+Sporting news, <a href="#Page_219"><b>219</b></a>&ndash;<a href="#Page_232"><b>232</b></a>.<br />
+Staff, <a href="#Page_28"><b>28</b></a>.<br />
+State editor, <a href="#Page_2"><b>2</b></a>.<br />
+Stenographic reports, <a href="#Page_144"><b>144</b></a>, <a href="#Page_194"><b>194</b></a>.<br />
+Stickful, <a href="#Page_32"><b>32</b></a>.<br />
+Stories to be corrected, <a href="#Page_311"><b>311</b></a>.<br />
+Storms, <a href="#Page_3"><b>3</b></a>, <a href="#Page_116"><b>116</b></a>.<br />
+Story, <a href="#Page_30"><b>30</b></a>;<br />
+<span class="i1">baseball, <a href="#Page_219"><b>219</b></a>&ndash;<a href="#Page_232"><b>232</b></a>;</span><br />
+<span class="i1">big, <em>see</em> Big story;</span><br />
+<span class="i1">body of, <em>see</em> Body of the story;</span><br />
+<span class="i1">faults in news, <a href="#Page_75"><b>75</b></a>&ndash;<a href="#Page_104"><b>104</b></a>;</span><br />
+<span class="i1">feature fire, <a href="#Page_50"><b>50</b></a>&ndash;<a href="#Page_74"><b>74</b></a>;</span><br />
+<span class="i1">fire, <a href="#Page_38"><b>38</b></a>, <a href="#Page_40"><b>40</b></a>, <a href="#Page_105"><b>105</b></a>, <a href="#Page_122"><b>122</b></a>;</span><br />
+<span class="i1">follow, follow&ndash;up, or second day, <a href="#Page_32"><b>32</b></a>, <a href="#Page_125"><b>125</b></a>, <a href="#Page_130"><b>130</b></a>&ndash;<a href="#Page_140"><b>140</b></a>;</span><br />
+<span class="i1">form of news, <a href="#Page_34"><b>34</b></a>&ndash;<a href="#Page_40"><b>40</b></a>;</span><br />
+<span class="i1">news, <a href="#Page_34"><b>34</b></a>&ndash;<a href="#Page_40"><b>40</b></a>, <a href="#Page_50"><b>50</b></a>, <a href="#Page_75"><b>75</b></a>, <a href="#Page_105"><b>105</b></a>&ndash;<a href="#Page_124"><b>124</b></a>;</span><br />
+<span class="i1">on announcements, bulletins, and other printed matter, <a href="#Page_121"><b>121</b></a>;</span><br />
+<span class="i1">on legislative bills, <a href="#Page_121"><b>121</b></a>;</span><br />
+<span class="i1">parts of news, <a href="#Page_45"><b>45</b></a>, <a href="#Page_76"><b>76</b></a>, <a href="#Page_91"><b>91</b></a>;</span><br />
+<span class="i1">police court, <a href="#Page_118"><b>118</b></a>;</span><br />
+<span class="i1">related, <a href="#Page_140"><b>140</b></a>;</span><br />
+<span class="i1">rewrite, <a href="#Page_32"><b>32</b></a>, <a href="#Page_125"><b>125</b></a>&ndash;<a href="#Page_130"><b>130</b></a>;</span><br />
+<span class="i1">running, <a href="#Page_31"><b>31</b></a>, <a href="#Page_189"><b>189</b></a>, <a href="#Page_200"><b>200</b></a>, <a href="#Page_223"><b>223</b></a>, <a href="#Page_227"><b>227</b></a>;</span><br />
+<span class="i1">simple fire, <a href="#Page_41"><b>41</b></a>&ndash;<a href="#Page_49"><b>49</b></a>;</span><br />
+<span class="i1">special feature, <a href="#Page_255"><b>255</b></a>;</span><br />
+<span class="i1">summary athletic, <a href="#Page_222"><b>222</b></a>;</span><br />
+<span class="i1">unusual social, <a href="#Page_213"><b>213</b></a>.</span><br />
+Street numbers, <a href="#Page_278"><b>278</b></a>, <a href="#Page_279"><b>279</b></a>, <a href="#Page_286"><b>286</b></a>, <a href="#Page_288"><b>288</b></a>, <a href="#Page_290"><b>290</b></a>, <a href="#Page_292"><b>292</b></a>, <a href="#Page_310"><b>310</b></a>.<br />
+Style, <a href="#Page_13"><b>13</b></a>, <a href="#Page_33"><b>33</b></a>, <a href="#Page_103"><b>103</b></a>, <a href="#Page_233"><b>233</b></a>, <a href="#Page_251"><b>251</b></a>.<br />
+Style Book, <a href="#Page_33"><b>33</b></a>, <a href="#Page_276"><b>276</b></a>&ndash;<a href="#Page_293"><b>293</b></a>.<br />
+Suggestions for study, <a href="#Page_4"><b>4</b></a>, <a href="#Page_294"><b>294</b></a>.<br />
+Suicide stories, <a href="#Page_115"><b>115</b></a>, <a href="#Page_291"><b>291</b></a>.<br />
+Summary beginning, for court reports, <a href="#Page_197"><b>197</b></a>;<br />
+<span class='pagenum'><a name="Page_347" id="Page_347">[347]</a></span><span class="i1">for interview stories, <a href="#Page_182"><b>182</b></a>, <a href="#Page_188"><b>188</b></a>;</span><br />
+<span class="i1">for speech reports, <a href="#Page_157"><b>157</b></a>.</span><br />
+Sums of money, <a href="#Page_281"><b>281</b></a>, <a href="#Page_286"><b>286</b></a>, <a href="#Page_290"><b>290</b></a>.<br />
+Sunday editor, <a href="#Page_29"><b>29</b></a>.<br />
+Superlatives, <a href="#Page_222"><b>222</b></a>, <a href="#Page_292"><b>292</b></a>.<br />
+<br />
+<br />
+<span class="i4">T</span><br />
+<br />
+Tables of athletic results, <a href="#Page_232"><b>232</b></a>, <a href="#Page_283"><b>283</b></a>.<br />
+Taking notes. <em>See</em> Note taking.<br />
+Telegraph editor, <a href="#Page_2"><b>2</b></a>, <a href="#Page_29"><b>29</b></a>.<br />
+Telegraph queries, <a href="#Page_12"><b>12</b></a>.<br />
+Telephone, use of, <a href="#Page_13"><b>13</b></a>.<br />
+Terms, newspaper, <a href="#Page_28"><b>28</b></a>&ndash;<a href="#Page_33"><b>33</b></a>.<br />
+Testimony, <a href="#Page_200"><b>200</b></a>.<br />
+<em>That</em>&ndash;clause beginning, in interview stories, <a href="#Page_182"><b>182</b></a>;<br />
+<span class="i1">in speech reports, <a href="#Page_154"><b>154</b></a>.</span><br />
+Theatrical news, <a href="#Page_259"><b>259</b></a>&ndash;<a href="#Page_275"><b>275</b></a>, <a href="#Page_284"><b>284</b></a>.<br />
+Time, indication of, <a href="#Page_281"><b>281</b></a>, <a href="#Page_286"><b>286</b></a>.<br />
+Time beginning, <a href="#Page_47"><b>47</b></a>.<br />
+Timeliness, in general, <a href="#Page_19"><b>19</b></a>;<br />
+<span class="i1">in human interest stories, <a href="#Page_238"><b>238</b></a>, <a href="#Page_256"><b>256</b></a>, <a href="#Page_286"><b>286</b></a>;</span><br />
+<span class="i1">in interviews, <a href="#Page_176"><b>176</b></a>, <a href="#Page_187"><b>187</b></a>.</span><br />
+Tips, <a href="#Page_3"><b>3</b></a>, <a href="#Page_30"><b>30</b></a>, <a href="#Page_295"><b>295</b></a>.<br />
+Title beginning of speech report, <a href="#Page_160"><b>160</b></a>.<br />
+Titles, use of, <a href="#Page_276"><b>276</b></a>, <a href="#Page_277"><b>277</b></a>, <a href="#Page_279"><b>279</b></a>, <a href="#Page_282"><b>282</b></a>, <a href="#Page_284"><b>284</b></a>, <a href="#Page_287"><b>287</b></a>, <a href="#Page_290"><b>290</b></a>, <a href="#Page_292"><b>292</b></a>.<br />
+Track news, <a href="#Page_219"><b>219</b></a>, <a href="#Page_223"><b>223</b></a>.<br />
+Truthfulness, <a href="#Page_8"><b>8</b></a>;<br />
+<span class="i1">in general, <a href="#Page_290"><b>290</b></a>;</span><br />
+<span class="i1">in human interest stories, <a href="#Page_239"><b>239</b></a>;</span><br />
+<span class="i1">in interviewing, <a href="#Page_179"><b>179</b></a>;</span><br />
+<span class="i1">in speech reporting, <a href="#Page_145"><b>145</b></a>, <a href="#Page_168"><b>168</b></a>.</span><br />
+Typewriter, use of, <a href="#Page_289"><b>289</b></a>.<br />
+<br />
+<br />
+<span class="i4">U</span><br />
+<br />
+Unexpected attendant circumstances, <a href="#Page_60"><b>60</b></a>.<br />
+Unexpected news, <a href="#Page_2"><b>2</b></a>.<br />
+Uniformity, <a href="#Page_33"><b>33</b></a>, <a href="#Page_34"><b>34</b></a>, <a href="#Page_289"><b>289</b></a>.<br />
+United Press, <a href="#Page_10"><b>10</b></a>.<br />
+Unusual social stories, <a href="#Page_213"><b>213</b></a>.<br />
+Unusualness, <a href="#Page_24"><b>24</b></a>, <a href="#Page_213"><b>213</b></a>.<br />
+<em>Up</em> style, <a href="#Page_33"><b>33</b></a>.<br />
+Uplift run, <a href="#Page_236"><b>236</b></a>, <a href="#Page_254"><b>254</b></a>.<br />
+Usual football story, <a href="#Page_223"><b>223</b></a>.<br />
+<br />
+<br />
+<span class="i4">V</span><br />
+<br />
+Values, news, <a href="#Page_11"><b>11</b></a>, <a href="#Page_14"><b>14</b></a>, <a href="#Page_27"><b>27</b></a>, <a href="#Page_38"><b>38</b></a>, <a href="#Page_41"><b>41</b></a>, <a href="#Page_204"><b>204</b></a>, <a href="#Page_233"><b>233</b></a>.<br />
+Vaudeville reports, <a href="#Page_264"><b>264</b></a>.<br />
+Vernacular, newspaper, <a href="#Page_28"><b>28</b></a>.<br />
+<span class='pagenum'><a name="Page_348" id="Page_348">[348]</a></span>Vividness, <a href="#Page_104"><b>104</b></a>, <a href="#Page_114"><b>114</b></a>, <a href="#Page_116"><b>116</b></a>.<br />
+<br />
+<br />
+<span class="i4">W</span><br />
+<br />
+Weather story, <a href="#Page_256"><b>256</b></a>.<br />
+Wedding announcements, <a href="#Page_209"><b>209</b></a>.<br />
+Wedding story, <a href="#Page_206"><b>206</b></a>.<br />
+<em>What</em>, as feature, <a href="#Page_55"><b>55</b></a>.<br />
+<em>When</em>, as feature, <a href="#Page_54"><b>54</b></a>.<br />
+<em>Where</em>, as feature, <a href="#Page_52"><b>52</b></a>.<br />
+<em>Who</em>, as feature, <a href="#Page_57"><b>57</b></a>.<br />
+<em>Why</em>, as feature, <a href="#Page_51"><b>51</b></a>.<br />
+Wordiness, <a href="#Page_87"><b>87</b></a>.<br />
+<br />
+<br />
+<span class="i4">Y</span><br />
+<br />
+Yarn, <a href="#Page_30"><b>30</b></a>.<br />
+</p></div>
+
+
+<div class="tn">
+<p class="noi c"><b>Transcriber's Note:</b></p>
+
+<p class="noi">Inconsistencies in spelling, hyphenation, punctuation and in
+spacing in abbreviations have been retained as in the original,
+along with deliberate misspellings and errors in "News Stories
+to be Corrected" in <a href="#aii">Appendix II</a>.</p>
+
+</div>
+
+
+
+
+
+
+
+
+<pre>
+
+
+
+
+
+End of the Project Gutenberg EBook of Newspaper Reporting and Correspondence, by 
+Grant Milnor Hyde
+
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+</body>
+</html>
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@@ -0,0 +1,10082 @@
+The Project Gutenberg EBook of Newspaper Reporting and Correspondence, by
+Grant Milnor Hyde
+
+This eBook is for the use of anyone anywhere at no cost and with
+almost no restrictions whatsoever.  You may copy it, give it away or
+re-use it under the terms of the Project Gutenberg License included
+with this eBook or online at www.gutenberg.org
+
+
+Title: Newspaper Reporting and Correspondence
+       A Manual for Reporters, Correspondents, and Students of
+       Newspaper Writing
+
+Author: Grant Milnor Hyde
+
+Release Date: July 4, 2008 [EBook #25968]
+
+Language: English
+
+Character set encoding: ASCII
+
+*** START OF THIS PROJECT GUTENBERG EBOOK NEWSPAPER REPORTING ***
+
+
+
+
+Produced by Jacqueline Jeremy and the Online Distributed
+Proofreading Team at http://www.pgdp.net (This file was
+produced from images generously made available by The
+Internet Archive/American Libraries.)
+
+
+
+
+
+
+
+
+
+    NEWSPAPER REPORTING
+    AND CORRESPONDENCE
+
+    A MANUAL FOR REPORTERS,
+    CORRESPONDENTS, AND STUDENTS
+    OF NEWSPAPER WRITING
+
+    BY
+
+    GRANT MILNOR HYDE, M.A.
+
+    INSTRUCTOR IN JOURNALISM IN THE
+    UNIVERSITY OF WISCONSIN.
+
+
+    NEW YORK AND LONDON
+    D. APPLETON AND COMPANY
+    1912
+
+
+    COPYRIGHT, 1912, BY
+    D. APPLETON AND COMPANY
+
+    Printed in the United States of America
+
+
+    TO
+    MY MOTHER
+
+
+
+
+INTRODUCTION
+
+
+The purpose of this book is to instruct the prospective newspaper
+reporter in the way to write those stories which his future paper will
+call upon him to write, and to help the young cub reporter and the
+struggling correspondent past the perils of the copyreader's pencil by
+telling them how to write clean copy that requires a minimum of editing.
+It is not concerned with the _why_ of the newspaper business--the editor
+may attend to that--but with the _how_ of the reporter's work. And an
+ability to write is believed to be the reporter's chief asset. There is
+no space in this book to dilate upon newspaper organization, the work of
+the business office, the writing of advertisements, the principles of
+editorial writing, or the how and why of newspaper policy and practice,
+as it is. These things do not concern the reporter during the first few
+months of his work, and he will learn them from experience when he needs
+them. Until then, his usefulness depends solely upon his ability to get
+news and to write it.
+
+There are two phases of the work which every reporter must learn: how to
+get the news and how to write it. The first he can pick up easily by
+actual newspaper experience--if nature has endowed him with "a nose for
+news." The writing of the news he can learn only by hard practice--a
+year's hard practice on some papers--and it is generally conceded that
+practice in writing news stories can be secured at home or in the
+classroom as effectively as practice in writing short stories, plays,
+business letters, or any other special form of composition. Newspaper
+experience may aid the reporter in learning how to write his stories,
+but a newspaper apprenticeship is not absolutely necessary. However,
+whether he is studying the trade of newspaper writing in his home, in a
+classroom, or in the city room of a daily paper, he needs positive
+instruction in the English composition of the newspaper office--rather
+than haphazard criticism and a deluge of "don'ts." Hence this book is
+concerned primarily with the writing of the news.
+
+Successful newspaper reporting requires both an ability to write good
+English and an ability to write good English in the conventional
+newspaper form. And there is a conventional form for every kind of
+newspaper story. Many editors of the present day are trying to break
+away from the conventional form and to evolve a looser and more natural
+method of writing news stories. The results are often bizarre and
+sometimes very effective. Certainly originality in expression adds much
+to the interest of newspaper stories, and many a good piece of news is
+ruined by a bald, dry recital of facts. Just as the good reporter is
+always one who can give his yarns a distinctive flavor, great newspaper
+stories are seldom written under the restriction of rules. But no young
+reporter can hope to attain success through originality and defiance of
+rules until he has first mastered the fundamental principles of
+newspaper writing. He can never expect to write "the story of the year"
+until he has learned to handle everyday news without burying the gist of
+his stories--any more than an artist can hope to paint a living portrait
+until he has learned, with the aid of rules, to draw the face of a
+plaster block-head. Hence the emphasis upon form and system in this
+book. And, whatever the form may be, the embodiment must be clear,
+concise, grammatical English; that is the excuse for the many axioms of
+simple English grammar that are introduced side by side with the study
+of the newspaper form.
+
+The author offers this book as the result of personal newspaper
+experience and of his work as instructor in classes in newspaper writing
+at the University of Wisconsin. Every item that is offered is the result
+of an attempt to correct the mistakes that have appeared most often in
+the papers of students who are trying to do newspaper writing in the
+classroom. The seemingly disproportionate emphasis upon certain branches
+of the subject and the constant repetition of certain simple principles
+are to be excused by the purpose of the book--to be a text-book in the
+course of study worked out in this school of journalism. The use of the
+fire story as typical of all newspaper stories and as a model for all
+newspaper writing is characteristic of this method of instruction. Four
+chapters are devoted to the explanation of a single principle which any
+reader could grasp in a moment, because experience has shown that an
+equivalent of four chapters of study and practice is required to teach
+the student the application of this principle and to fix it in his mind
+so thoroughly that he will not forget it in his later work of writing
+more complicated stories. It is felt that the beginner needs and must
+have the detailed explanation, the constant reiteration and some
+definite rules to guide him in his practice. Hence the emphasis upon the
+conventional form. Since, in the application of the newspaper principle
+of beginning with the gist of the story, the structure of the lead is of
+greater importance than the rest of the story, this book devotes the
+greater part of its discussion to the lead.
+
+The suggestions for practice are attached in an attempt to give the
+young newspaper man some _positive_ instruction. Most reporters are
+instructed by a system of "don'ts," growled out by busy editors; most
+correspondents receive no instruction at all--a positive suggestion now
+and then cannot but help them both. Practice is necessary in the study
+of any form of writing; these suggestions for practice embody the method
+of practice used in this school of journalism. The examples are taken
+from representative papers of the entire country to show the student how
+the stories are actually written in newspaper offices.
+
+    Madison, Wisconsin,
+        June 3, 1912.
+
+
+
+
+CONTENTS
+
+
+    CHAPTER                                          PAGE
+
+          I. GATHERING THE NEWS                         1
+
+         II. NEWS VALUES                               14
+
+        III. NEWSPAPER TERMS                           28
+
+         IV. THE NEWS STORY FORM                       34
+
+          V. THE SIMPLE FIRE STORY                     41
+
+         VI. THE FEATURE FIRE STORY                    50
+
+        VII. FAULTS IN NEWS STORIES                    75
+
+       VIII. OTHER NEWS STORIES                       105
+
+         IX. FOLLOW-UP AND REWRITE STORIES            125
+
+          X. REPORTS OF SPEECHES                      143
+
+         XI. INTERVIEWS                               169
+
+        XII. COURT REPORTING                          192
+
+       XIII. SOCIAL NEWS AND OBITUARIES               204
+
+        XIV. SPORTING NEWS                            219
+
+         XV. HUMAN INTEREST STORIES                   233
+
+        XVI. DRAMATIC REPORTING                       259
+
+       XVII. STYLE BOOK                               276
+
+       APPENDIX I--SUGGESTIONS FOR STUDY              294
+
+       APPENDIX II--NEWS STORIES TO BE CORRECTED      311
+
+       INDEX                                          339
+
+
+
+
+NEWSPAPER REPORTING AND CORRESPONDENCE
+
+I
+
+GATHERING THE NEWS
+
+
+Unlike almost any other profession, that of a newspaper reporter
+combines two very different activities--the gathering of news and the
+writing of news. Part of the work must be done in the office and part of
+it outside on the street. At his desk in the office a reporter is
+engaged in the literary, or pseudo-literary, occupation of writing news
+stories; outside on the street he is a detective gathering news and
+hunting for elusive facts to be combined later into stories. Although
+the two activities are closely related, each requires a different sort
+of ability and a different training. In a newspaper office the two
+activities are rarely separated, but a beginner must learn each duty
+independent of the other. This book will not attempt to deal with both;
+it will confine itself mainly to one phase, the pseudo-literary
+activity of writing news stories.
+
+However, introductory to the discussion of the writing of newspaper
+stories, we may glance at the other side of the newspaper writer's
+work--the gathering of the news. Where the newspaper gets its news and
+how it gets its news can be learned only by experience, for it differs
+in different cities and with different papers. But an outline of the
+background of news-gathering may assist us in writing the news after it
+is gathered and ready for us to write.
+
+
+=1. Reporter vs. Correspondent.=--There are two capacities in which one
+may write news stories for a paper. He may work on the staff as a
+regular reporter or he may supply news from a distance as a
+correspondent. In the one case he works under the personal supervision
+of a city editor and spends his entire time at the regular occupation of
+gathering and writing news. As a correspondent he works in a distant
+city, under the indirect supervision of the city, telegraph, or state
+editor, and sends in only the occasional stories that seem to be of
+interest to his paper. In either case the same rules apply to his news
+gathering and to his news writing. And in either case the length of his
+employment depends upon his ability to turn in clean copy in the form
+in which his paper wishes to print the news. Both the reporter and the
+correspondent must write their stories in the same form and must look at
+news and the sources of news from almost the same point of view.
+Whatever is said of the reporter applies equally to the correspondent.
+
+
+=2. Expected and Unexpected News.=--The daily news may be divided into
+two classes from the newspaper's point of view: expected and unexpected
+news. Expected news includes all stories of which the paper has a
+previous knowledge. Into this class fall all meetings, speeches,
+sermons, elections, athletic contests, social events, and daily
+happenings that do not come unexpectedly. They are the events that are
+announced beforehand and tipped off to the paper in time for the editor
+to send out a reporter to cover them personally. These events are of
+course recorded in the office, and each day the editor has a certain
+number of them, a certain amount of news that he is sure of. Each day he
+looks over his book to note the events that are to take place during
+that day and sends out his reporters to cover them.
+
+The other class includes the stories that break unexpectedly. Accidents,
+deaths, fires, storms, and other unexpected happenings come without
+warning and the reporting of them cannot be arranged for in advance.
+These are the stories that the paper is most anxious to get and the
+things for which the whole staff always has its eyes and ears open.
+Seldom are they heard of in time for the paper to have them covered
+personally, and the reporting of such stories becomes a separate sort of
+work--the gathering and sorting of the facts that can be obtained only
+from chance witnesses.
+
+
+=3. News Sources.=--There are certain sources from which the paper gets
+most of its tips of expected events and its knowledge of unexpected
+events. These every editor knows about. The courts, the public records,
+the public offices, the churches, and the schools furnish a great many
+of the tips of expected news. The police stations, the fire stations,
+the hospitals, and the morgues furnish most of the tips of unexpected
+news. Whenever an event is going to happen, or whenever an unexpected
+occurrence does happen, a notice of it is to be found in some one of
+these sources. Such a notice or a casual word from any one is called a
+"tip" and indicates the possibility of securing a story. The securing of
+the story is another matter. A would-be reporter may get good practice
+from studying the stories in the daily papers and trying to discover or
+imagine from what source the original news tip came. He will soon find
+that certain classes of stories always come from certain sources and
+that there is a perceptible amount of routine evident in the accounts
+of the most unexpected occurrences.
+
+
+=4. Runs and Assignments.=--Between the news tip and the finished copy
+for the compositor there is a vast amount of news gathering, which falls
+to the lot of the reporter. This is handled by a system of runs and
+special assignments. A reporter usually has his own run, or beat, on
+which he gathers news. His run may cover a certain number of police
+stations or the city hall or any group of regular news sources. Each day
+he must visit the various sources of news on his beat and gather the
+tips and whatever facts about the stories behind the tips that he can.
+The tips that he secures furnish him with clues to the stories, and it
+is his business to get the facts behind all of the tips on his beat and
+to write them up, unless a tip opens up a story that is too big for him
+to handle alone without neglecting his beat.
+
+Assignments are used to cover the stories that do not come in through
+the regular sources, and to handle the big stories that are unearthed on
+the regular beats. The editor turns over to the reporter the tip that he
+has received and instructs him to go out and get the facts. A paper's
+best reporters are used almost entirely on assignments, and when they go
+out after a story they practically become detectives. They follow every
+clue that the tip suggests and every clue that is opened up as they
+progress; they hunt down the facts until they are reasonably sure that
+they have secured the whole story. The result may not be worth writing,
+or it may be worth a place on the front page, but the reporter must get
+to the bottom of it. Whether on a beat or on an assignment every
+reporter must have his ears open for a tip of some unexpected story and
+must secure the facts or inform the editor at once. It is in this way
+that a paper gets a scoop, or beat, on its rivals by printing a story
+before the other papers have heard of it.
+
+
+=5. Interviews for Facts.=--To cover an assignment and secure the facts
+of a story is not at all easy. If the reporter could be a personal
+witness of the happening which he is to report, the task would be
+simpler. But, outside the case of expected events, he rarely hears of
+the occurrence until after it is past and the excitement has subsided.
+Then he must find the persons who witnessed the occurrence or who know
+the facts, and get the story from them. Perhaps he has to see a dozen
+people to get the information he wants. Getting facts from people in
+this way is called interviewing--interviewing for facts, as
+distinguished from formal interviewing for the purpose of securing a
+statement or an opinion that is to be printed with the name of the man
+who utters it. Although a dozen interviews may be necessary for a
+single story, not one of them is mentioned in the story, for they are of
+no importance except in the facts that they supply.
+
+For example, suppose a reporter is sent out to get the story of a fire
+that has started an hour or two before he goes on duty. All that his
+editor gives him is the tip from the fire department, or from some other
+source, of a fire at such-and-such an address. When he arrives at the
+scene there is nothing left but smoldering ruins with perhaps an engine
+throwing a stream on the smoking debris and a few by-standers still
+loitering about. He can see with his own eyes what kind of building has
+burned, and how completely it has been destroyed. A by-stander may be
+able to tell him who occupied the building or what it was used for, but
+he must hunt for some one else who can give him the exact facts that his
+paper wants. Perhaps he can find the tenant and learn from him what his
+loss has been. The tenant can give him the name of the owner and may be
+able to tell him something about the origin of the fire. He must find
+the owner to get the value of the building and the amount of insurance
+carried. Perhaps he cannot find any of these people and must ask the
+fire chief or some one else to give him what facts and estimates he can.
+If the fire is at all serious he must find out who was killed or
+injured and get their names and addresses and the nature of their injury
+or the manner of their death. Perhaps he can talk to some of the people
+who had narrow escapes, or interview the friends or relatives of the
+dead. Everywhere he turns new clues open up, and he must follow each one
+of them in turn until he is sure that he has all the facts.
+
+
+=6. Point of View.=--The task would be easy if every one could tell the
+reporter just the facts that his paper wants. But in the confusion every
+one is excited and fairly bubbling over with rumors and guesses which
+may later turn out to be false. Each person who is interested in the
+incident sees and tells it only from his own point of view. Obviously
+the reporter's paper does not want the facts from many different points
+of view, nor even from the point of view of the fire department, of the
+owner, or of the woman who was rescued from the third floor. The paper
+wants the story from a single point of view--the point of view of an
+uninterested spectator. Consequently the reporter must get the facts
+through interviews with a dozen different people, discount possible
+exaggeration and falsity due to excitement, make allowances for the
+different points of view, harmonize conflicting statements, and sift
+from the mass what seems to him to be the truth. Then he must write the
+story from the uninterested point of view of the public, which wants to
+hear the exact facts of the fire told in an unprejudiced way. Never does
+the story mention any of the interviews behind it except when the
+reporter is afraid of some statement and wants to put the responsibility
+upon the person who gave it to him. And so the finished story that we
+read in the next morning's paper is the composite story of the fire
+chief, the owner, the tenant, the man who discovered the fire, the widow
+who was driven from her little flat, the little girl who was carried
+down a ladder through the smoke, the man who lost everything he had in
+the world, and the cynic who watched the flames from behind the
+fireline--all massed together and sifted and retold in an impersonal way
+from the point of view of a by-stander who has been everywhere through
+the flames and has kept his brain free from the terror and excitement of
+it all.
+
+The same is true of every story that is printed in a newspaper. Every
+story must be secured in the same way--whether it is the account of a
+business transaction, a bank robbery, a political scandal, a murder, a
+reception, or a railroad wreck. Seldom is it possible to find any one
+person who knows all the facts just as the newspaper wants them, and
+many a story that is worth but a stickful in the first edition is the
+result of two hours' running about town, half a dozen telephone calls,
+and a dozen interviews. That is the way the news is gathered, and that
+is the part of the reporter's work that he must learn by experience. But
+after all the gathering is finished and he has the facts, the writing of
+the story remains. If the reporter knows how to write the facts when he
+has them, his troubles are cut in half, for nowadays a reporter who
+writes well is considered a more valuable asset than one who cannot
+write and simply has a nose for news.
+
+
+=7. News-Gathering Agencies.=--This account of news gathering is of
+course told from the point of view of the reporter. Naturally it assumes
+a different aspect in the editor's eyes. Much of the day's news does not
+have to be gathered at all. A steady stream of news flows in ready for
+use from the great news-gathering agencies, the Associated Press, the
+United Press, the City Press, etc., and from correspondents. Many
+stories are merely summaries of speeches, bulletins, announcements,
+pamphlets and other printed matter that comes to the editorial office,
+and many stories come already written. Almost everybody is looking for
+publicity in these days and the editor does not always have to hunt the
+news with an army of ferrets. Cooperation in news gathering has
+simplified the whole matter. But it all has to be written and edited.
+That is why great reporters are no longer praised for their cleverness
+in worming their way to elusive facts, but for their ability to write a
+good story. That is why we no longer hear so much about beats and scoops
+but more about clean copy and "literary masterpieces."
+
+
+=8. How the Correspondent Works.=--The correspondent gathers news very
+much as the reporter does, but he does it without the help of a city
+editor. He must be his own director and keep his own book of tips, for
+he has no one to make out his assignments beforehand. He has to watch
+for what news he can get by himself and send it to his paper of his own
+accord, except occasionally when his paper instructs him to cover a
+particularly large story. But he gets his tips and runs down his facts
+just as a reporter does. Just as much alertness and just as much ability
+to write are required of him.
+
+The correspondent's work is made more difficult by what is called news
+values. Distance affects the importance of the facts that he secures and
+the length of the stories he writes. He must weigh every event for its
+interest to readers a hundred or a thousand miles away. What may be of
+immense importance in his community may have no interest at all for
+readers outside that community. He must see everything with the eyes of
+a stranger, and this must influence his whole work of news gathering
+and news writing. This matter will be taken up at greater length in the
+next chapter.
+
+
+=9. Correspondent's Relation to His Paper.=--The relations of a
+correspondent to the paper or news association to which he is sending
+news can best be learned by experience. Every paper has different rules
+for its correspondents and different directions in regard to the sort of
+news it wants. The rules regarding the mailing of copy and the sending
+of stories or queries by telegraph are usually sent out in printed form
+by each individual paper to its correspondents. But while gathering news
+and writing stories for a distant paper, a correspondent must always
+regard himself as a reporter and write his stories in the form in which
+they are to appear in print if he wishes to remain correspondent for any
+length of time. The following rules are taken from the "INSTRUCTIONS TO
+CORRESPONDENTS" sent out on a printed card to the correspondents of the
+St. Louis _Star_:
+
+    QUERY BY WIRE ON ALL STORIES you consider are worth
+    telegraphing, unless you are absolutely certain _The Star_
+    wants you to send the story without query, or in case of a big
+    story breaking suddenly near edition time. If you have not time
+    to query, get a reply and send such matter as might be ordered
+    before the next edition time; send the story in the shortest
+    possible number of words necessary to tell it, asking if
+    additional matter is desired.
+
+    Write your queries so they can be understood. Never send a
+    "blind" query. If John Smith, a confirmed bachelor, whose age is
+    80 years, elopes with and marries the daughter of the woman who
+    jilted him when he was a youth, say so in as few words as
+    possible, but be sure to convey the dramatic news worth of the
+    story in your query. Do not say, "Bachelor elopes with girl,
+    daughter of woman he knew a long time ago." In itself the story
+    which this query tells might be worth printing, but it would not
+    be half so good a story as the elopement of John Smith, 80,
+    bachelor, woman hater, with the daughter of his old sweetheart.
+
+    When a good story breaks close to edition time and the
+    circumstances justify it, use the long-distance telephone, but
+    first be reasonably certain _The Star_ will not get the story
+    from another source.
+
+    Write your stories briefly. _The Star_ desires to remunerate its
+    correspondents according to the worth of a story and not for so
+    many words. One good story of 200 words with the right "punch"
+    in the introduction is worth a dozen strung over as many dozen
+    pages of copy paper with the real story in the last paragraph of
+    each. Tell your story in simple, every-day conversational words:
+    quit when you have finished. Relegate the details. Unless it is
+    a case of identification in a murder mystery, or some similar
+    big story, no one cares about the color of the man's hair. Get
+    the principal facts in the first paragraph--stop soon after.
+
+    Send as much of your stuff as possible by mail, especially if
+    you have the story in the late afternoon and are near enough to
+    St. Louis to reach _The Star_ by 9 o'clock the next morning. If
+    necessary, send the letter special delivery.
+
+    Don't stop working on a good story when you have all the facts;
+    if there are photographs to be obtained, get the photographs,
+    especially if the principals in the story are persons of
+    standing, and more especially if they are women.
+
+    Correspondents will appreciably increase their worth to _The
+    Star_ and enhance their earning capacity by observing these
+    rules.
+
+
+
+
+II
+
+NEWS VALUES
+
+
+Before any one can hope to write for a newspaper he must know something
+about news values--something about the essence of interest that makes
+one story worth a column and cuts down another, of equal importance from
+other points of view, to a stickful. He must recognize the relative
+value of facts so that he can distinguish the significant part of his
+story and feature it accordingly. The question is a delicate one and yet
+a very reasonable and logical one. The ideal of a newspaper, according
+to present-day ethics, is to print news. The daily press is no longer a
+golden treasury of contemporary literature, not even, perhaps, an
+exponent of political principles. Its primary purpose is to report
+contemporary history--to keep us informed concerning the events that are
+taking place each day in the world about us.
+
+To this idea is added another. A newspaper must be interesting. In these
+days of many newspapers few readers are satisfied with merely being
+informed; they want to be informed in a way that interests them. To
+this demand every one connected with a newspaper office tries to cater.
+It is the defense of the sensational yellow journals and it is the
+reason for everything in the daily press. There is so much to read that
+people will not read things that do not interest them, and the paper
+that succeeds is the paper that interests the greatest number of
+readers. Circulation cannot be built up by printing uninteresting stuff
+that the majority of readers are not interested in, and circulation is
+necessary to success.
+
+This desire to interest readers is behind the whole question of news
+values. News is primarily the account of the latest events, but, more
+than that, it is the account of the latest events that interest readers
+who are not connected with these events. Further than that, it is the
+account of the latest events that interest the greatest number of
+readers. Susie Brown may have sprained her ankle. The fact is
+absorbingly interesting to Susie; it is even rather interesting to her
+family and friends, even to her enemies. If she is well known in the
+little town in which she lives her accident may be interesting enough to
+the townspeople for the local weekly to print a complete account of it.
+However, the event is interesting only to people who know Susie, and
+after all they do not comprise a very large number. Hence her accident
+has no news value outside the local weekly. On the other hand, had Susie
+sprained her ankle in some very peculiar manner, the accident might be
+of interest to people who do not know Susie. Suppose that she had
+tripped on her gown as she was ascending the steps of the altar to be
+married. Such an accident would be very unusual, almost unheard of.
+People in general are interested in unusual things, and many, many
+readers would be interested in reading about Susie's unusual accident
+although they did not know Susie or even the town in which she lives.
+Such a story would be the report of a late event that would interest
+many people; hence it would have a certain amount of news value. Of
+course, the reader loses sight of Susie in reading of her accident--it
+might as well have been Mary Jones--but that is because Susie has no
+news value in herself. That is another matter.
+
+
+=1. Classes of Readers.=--Realizing that his story must be of interest
+to the greatest number of people, the reporter must remember the sort of
+people for whom he is writing. That complicates the whole matter. If he
+were writing for a single class of readers he could easily give them the
+news that would interest them. But he is not; he is writing for many
+classes of people, for all classes of people. And he must interest them
+all. He is writing for the business man in his office, for the wife in
+the home, for the ignorant, for the highly educated, for the rich and
+the poor, for the old and the young, for doctors, lawyers, bankers,
+laborers, ministers, and women. All of them buy his paper to hear the
+latest news told in a way that interests them, and he has to cater to
+each and to all of them. If he were simply writing for business men he
+would give them many columns of financial news, but that would not
+interest tired laborers. An extended account of the doings of a
+Presbyterian convention would not attract the great class of men with
+sporting inclinations, and a story of a very pretty exhibition of
+scientific boxing would not appeal to the wife at home. They all buy the
+paper, and they all want to be interested, and the paper must,
+therefore, print stories that interest at least the majority of them.
+That is the question of news values. The news must be the account of the
+latest events that interest the greatest number of readers of all
+classes.
+
+This search for the universally-interesting news is the reason behind
+the sensational papers. Although the interests of any individual differ
+in almost every aspect from the interests of his neighbor, there is one
+sort of news that interests them both, that interests every human being.
+That is the news that appeals to the emotions, to the heart. It is the
+news that deals with human life--human nature--human interest news the
+papers call it. In it every human being is interested. However trivial
+may be the event, if it can be described in a way that will make the
+reader feel the point of view of the human beings who suffered or
+struggled or died or who were made happy in the event, every other human
+being will read it with interest. Human sympathy makes one want to feel
+joy and pain from the standpoint of others. Naturally that sort of news
+is always read; naturally the paper that devotes itself to such news is
+always read and is always successful as far as circulation and profits
+go. The papers that have that ideal of news behind them and forsake
+every other ideal for it are called sensational papers. Whether they are
+good or not is another question.
+
+With this idea of what news values means and the idea that news is worth
+while only when it interests the largest number of people of all
+classes, we may try to look for the things that make news interesting to
+the greatest number of people of all classes. The reporter must know not
+only what news is, but what makes it news. He must be able to see the
+things in a story that will interest the greatest number of people of
+all classes. These are many and intricate.
+
+
+=2. Timeliness.=--In the first place, news must be new. A story must
+have timeliness. Our readers want to know what happened to-day, for
+yesterday and last week are past and gone. They want to be up to the
+minute in their information on current events. Therefore a story that is
+worth printing to-day will not be worth printing to-morrow or, at most,
+on the day after to-morrow. Events must be chronicled just as soon as
+they happen. Furthermore, the story itself must show that it is new. It
+must tell the reader at once that the event which it is chronicling
+happened to-day or last night--at least since the last edition of the
+paper. That is why the reporter must never fail to put the time in the
+introduction of his story. Editors grow gray-headed trying to keep up
+with the swift passing of events, and they are always very careful to
+tell their readers that the events which they are chronicling are the
+latest events. That is the reason why every editor hates the word
+"yesterday" and tries to get "to-day" or "this morning" into the lead of
+every story. Hence, to the newspaper, everything that happened since
+midnight last night is labeled "this morning," and everything that
+happened since six o'clock yesterday afternoon is labeled "last night."
+Anything before that hour must be labeled "yesterday," but it goes in as
+"late yesterday afternoon," if it possibly can. Hence the first
+principle of news values is timeliness--news is news only because it
+just happened and can be spoken of as one of the events of "to-day" or
+of "late yesterday."
+
+
+=3. Distance.=--Distance is another factor in news values. In spite of
+fast trains and electric telegraphs human beings are clannish and local
+in their interests. They are interested mainly in things and persons
+that they know, and news from outside their ken must be of unusual
+significance to attract them. They like to read about things that they
+have seen and persons that they know, because they are slow to exert
+their imaginations enough to appreciate things that they do not know
+personally. Hence every newspaper is primarily local, even though it is
+a metropolitan daily, and news from a distance plays a very subordinate
+part. It has been said that New York papers cannot see beyond the
+Alleghanies; it is equally true that most papers cannot see more than a
+hundred miles from the printing office, except in the case of national
+news. Any newspaper's range of news sources goes out from the editorial
+room in concentric circles. Purely personal news must come from within
+the range of the paper's general circulation, because people do not care
+to read purely personal news about persons whom they do not know. Other
+news is limited ordinarily to the region with which the paper's readers
+are personally acquainted--the state, perhaps--because subscribers
+unconsciously wish to hear about places with which they are personally
+acquainted. Any news that comes from outside this larger circle must be
+nation-wide or very unusual in its interest. A story that may be worth a
+column in El Paso, Texas, would not be worth printing in New York
+because El Paso is hardly more than a name to most New York newspaper
+readers. In the same way, the biggest stories in New York are not worth
+anything in Texas, because Texas readers are not personally interested
+in New York--they cannot say, "Yes, I know that building; I walked down
+that street the other day; oh, you can't tell me anything about the
+subway." News is primarily local, and the first thing a correspondent
+must learn is how to distinguish the stories that are purely local in
+their interest from those that would be worth printing a hundred miles
+away in a paper read by people who do not know the places or persons
+involved in the story. Colonel Smith may be a very big frog in the
+little puddle of Smith's Corners, and his doings may be big news to the
+weeklies all over his county, but he has to do something very unusual
+before his name is worth a line in a paper two counties away. He is
+nothing but a name to people who do not know him or know of him, and
+therefore they are not interested in him. Every correspondent must watch
+for the stories that have something more than a local interest, some
+element of news in them that will carry them over the obstacle of
+distance and make them interesting to any reader.
+
+It would be impossible to analyze news values to the extent of telling
+every conceivable element of interest that will overcome the obstacle of
+distance. Yet there are certain elements that always make a newspaper
+story interesting to any one.
+
+
+=4. Loss of life.=--One of these is the loss of human life. For some
+strange reason every human being is interested in the thought of death.
+Just as soon as a story mentions death it is worth printing, and if it
+has a number of deaths to tell about it is worth printing anywhere. Any
+fire, any railroad wreck, or any other disaster in which a number of
+persons are killed or injured makes a story that is worth sending
+anywhere. There seems to be a joy for the reader in the mere number of
+fatalities. A story that can begin with "Ten people were killed," or
+"Seven men met their death," attracts a reader's interest at once. As a
+very natural result, and justly, too, newspapers have been broadly
+accused of exaggeration for the sake of a large number. But at present
+many papers are inclined to underestimate rather than overestimate,
+perhaps to avoid this accusation. In a number of instances in the past
+year, among them the Shirtwaist Factory fire in New York, the first
+figures were smaller than the official count printed later. That does
+not mean, however, that newspapers do not want stories involving loss of
+life. Any story which involves a large number of fatalities will carry a
+long distance, if for no other reason.
+
+
+=5. Big Names.=--Another element of news values is the interest in
+prominent people. The mere mention of a man or a woman who is known
+widely attracts attention. Although Colonel Smith of Smith's Corners has
+to do something very unusual to get his name in any paper outside his
+county, the slightest thing that President Taft does is printed in every
+paper in the country. It is simply because of our interest in the man
+himself. Some names give a story news value because the names are widely
+known politically or financially, some names because they are simply
+notorious. But any name that is recognized at once, for any reason,
+gives a story news value.
+
+
+=6. Property Loss.=--Akin to man's love for any account that involves
+large loss of human life, is his love of any story that tells about a
+huge loss of property. The mere figures seem to have a charm; any story
+that can begin with awesome figures, like "Two million dollars," "One
+hundred automobiles," "Ten city blocks," has news value. Hence any story
+that involves a large loss that can be expressed in figures has the
+power to carry a great distance.
+
+
+=7. Unusualness.=--It is safe to say that newspaper readers are
+interested in anything unusual. It does not matter whether it is a
+thing, a person, an action, a misfortune; so long as it is strange and
+out of the range of ordinary lives, it is interesting. Many, if not
+most, newspaper stories have nothing but the element of strangeness in
+them to give them news value, but if they are sufficiently strange and
+unusual they may be copied all over the country. An unusual origin or an
+unusual rescue will give an unimportant fire great news value. And so
+with every other kind of story.
+
+
+=8. Human Interest.=--Along with the element of the strange and unusual,
+goes the human interest element. Any story that will make us laugh or
+make us cry has news value. Hundreds of magazines are issued monthly
+with nothing in them but fictitious stories that are intended to arouse
+our emotions, and newspapers are beginning to realize that they can
+interest their readers in the same way. No life is so prosaic that it is
+not full of incidents that make one laugh or cry, and when these
+stories can be told in a way that will make any reader feel the same
+emotions, they have news value that will carry them a long distance.
+Obviously their success depends very largely upon the way they are told.
+
+
+=9. Personal Appeal.=--Another element that may give a story news value
+is that of personal appeal or application to the reader's own daily
+life. Men are primarily egoistic and selfish and nothing interests them
+more than things that affect them personally. They can read complacently
+and without interest of the misfortunes and joys of others, but just as
+soon as anything affects their own daily lives, even a little, they want
+to hear about it. Perhaps the price of butter has gone up a few cents or
+the gas company has reduced its rates from eighty cents to
+seventy-seven. Every reader is interested at once, for the news affects
+his own daily life. Sometimes this personal appeal is due merely to the
+reader's familiarity with the persons or places mentioned in the story;
+sometimes it is due to the story's application to his business life, his
+social or religious activities, or to any phase of his daily existence.
+That is the reason why political news interests every one, for we all
+feel that the management of the government has an influence on our own
+lives. The story of any political maneuver--especially if it is one
+that may be looked upon as bad or good--carries farther than any other
+story. Show that your story tells of something that has even the
+slightest effect on the lives of a large number of people and it needs
+no other element to give it news value.
+
+
+=10. Local Reasons.=--These factors and many others give news stories a
+news value that will carry them a long distance and make them
+interesting in communities far from their source. Many local reasons may
+enhance the value of a story for local papers. A paper's policy or some
+campaign that it is waging may give an otherwise unimportant event a
+tremendous significance. If an unimportant person is slightly injured
+while leaving a trolley car the story is hardly worth a line of type.
+But if such an item should come to a newspaper while it is carrying on a
+campaign against the local street railway company, the story would
+probably be written and printed in great detail. Any slight occurrence
+that may be in line with a paper's political beliefs would receive an
+amount of space far out of proportion with its ordinary news worth. News
+value is a very changeable and indefinite thing, and there are countless
+reasons why any given story should be of interest to a large number of
+readers. And the possibility of interesting a large number of readers is
+the basis of news value.
+
+
+=11. The Feature.=--In connection with the study of news values the
+question of feature is important. In editorial offices one is constantly
+hearing the word "feature," and reporters are constantly admonished to
+"play up the feature" of their stories. Feature is the word that editors
+use to signify the essence of news value. Every story that is printed is
+printed because of some fact in it that makes it interesting--gives it
+news value. The element in the story that makes it interesting and worth
+printing is the feature. The feature may be some prominent name, a large
+list of fatalities, a significant amount of property destroyed, or
+merely the unusualness of the incident. This feature is the element that
+makes the story news; therefore it is used to attract attention to the
+story. Every newspaper story displays like a placard in its headlines
+the reason why it was printed--the element in it that makes it
+interesting. "Playing up the feature" is simply the act of bringing this
+feature to the front so that it will attract attention to the story.
+Just how this is done we shall see later. But when, as a reporter, you
+are looking for a feature to play up in your lead, remember that the
+feature to be played up is the thing in the story that gives the story
+news value. And few stories have more than one claim to news value, more
+than one feature.
+
+
+
+
+III
+
+NEWSPAPER TERMS
+
+
+The newspaper vernacular that is used in the editorial and press rooms
+of any daily paper is a curious mixture of literary abbreviations and
+technical printing terms. It is the result of the strange mingling of
+the literary trade of writing with the mechanical trade of setting type.
+For that reason a green reporter has difficulty in understanding the
+instructions that he receives until he has been in the office long
+enough to learn the office slang. It would be impossible to list all of
+the expressions that might be heard in one day, but a knowledge of the
+commonest words will enable a reporter to get the drift of his editor's
+instructions.
+
+When a young man secures a position as reporter for a newspaper he
+begins as a _cub reporter_ and is usually said to be on the _staff_ of
+his paper. His sphere of activity is confined to the _editorial_ room,
+where the news is written; his relations with the _business office_,
+where advertising, circulation, and other business matters are handled,
+consists of the weekly duty of drawing his pay. His chief enemies are in
+the _printing office_ where his literary efforts are _set up_ in type
+and printed. His superiors are called _editors_ and exist in varying
+numbers, depending upon the size of his paper. The man who directs the
+reporters is usually called the _city editor_, or perhaps the _day_ or
+_night city editor_; above him there are managing editors and other
+persons in authority with whom the cub is not concerned; and the favored
+mortals who enjoy a room by themselves and write nothing but editorials
+are called editors or _editorial writers_. There may also be a
+_telegraph_ editor, a _sporting_ editor, a _Sunday_ editor, and many
+other editors; or if the paper is small and poor all of these editors
+may be condensed into one very busy man. On a city daily of average size
+there are _desk men_, or _copyreaders_, who work under editorial
+direction but feel superior to the reporter because they correct his
+literary efforts.
+
+The reporter's work consists of gathering and writing news. In the
+office this is called _covering_ and writing _stories_. He is ordinarily
+put on a _beat_, or _run_; this is simply a daily route or round of news
+sources which he follows as regularly as a policeman walks his beat. The
+reporter's work on a special story outside his beat is called an
+_assignment_. Any hint that he may receive concerning a bit of news is
+called a _tip_. Any bit of news that he secures to the exclusion of his
+paper's rivals is called a _beat_, or a _scoop_.
+
+Everything that is written for the paper, whether it be a two-line
+personal item or a two-column report, is called a _story_, or a _yarn_,
+and from the time the story is written until it appears in the printed
+paper it is called _copy_. If the story is well written and needs few
+corrections it is called _clean copy_. After the story is written it is
+turned over to the copyreader to be _edited_. The copyreader corrects it
+and writes the headlines or _heads_; then he sends it to the composing
+room to be set in type by the _compositor_. The story itself is usually
+set up on a linotype machine and the heads are set up by hand. For the
+sake of keeping the two parts of the copy together the reporter or the
+copyreader ordinarily gives the story a name, such as "Fire No. 2"; the
+bit of lead on which the name is printed is called a _slug_ and the
+story is said to be _slugged_. If at any time in its journey from the
+reporter's pencil to the printed page, the editor decides not to print
+the story, he _kills_ it; otherwise he _runs_ it, or allows it to go
+into the paper. When the story is in type, an impression, or _proof_, is
+taken of it, and this proof, still called copy, comes back to the
+copyreader or the proofreader for the correction of typographical
+errors. The gathering together of all of the day's stories into the form
+of the final printed page is called _making up_ the paper; this is
+usually done by some one of the editors. In like manner, the finished
+aspect of the paper is called the _make-up_.
+
+Some stories are said to be _big stories_ because of unusual news value.
+When any news comes unexpectedly it is said to _break_; and when any
+story comes in beforehand and must be held over, it is said to be
+_released_ on the day on which it may be printed. The first paragraph of
+any story is called the _lead_ (pronounced "leed"); the word _lead_ is
+also used to designate several introductory paragraphs that are tacked
+on at the beginning of a long story, which may be of the nature of a
+_running story_ (as the running story of a football game), or may be
+made up of several parts, written by one or more reporters. In general,
+that part of a story which presents the gist or summary of the entire
+story at the beginning is called the _lead_. The most interesting thing
+in the story, the part that gives it news value, is called the
+_feature_, and _playing up the feature_ consists in telling the most
+interesting thing in the first line of the lead or in the headline. An
+entire story is said to be _played up_ if it is given a prominent place
+in the paper. A _feature story_ is either a story that is thus played
+up or a story that is written for some other reason than news value,
+such as human interest. When a story is rewritten to give a new interest
+to old facts it is called a _rewrite story_; when it is rewritten to
+include new facts or developments, it is called a _follow-up_,
+_second-day_, or _follow story_.
+
+Because of the close relation between the editorial room and the
+printing office many printing terms are commonly heard about the
+editorial room. All copy is measured by the _column_ and by the
+_stickful_. A column is usually a little less than 1,500 words and a
+stickful is the amount of type that can be set in a compositor's
+_stick_, the metal frame used in setting type by hand--about two inches
+or 100 words. A bit of copy that is set up with a border or a row of
+stars about it is said to be _boxed_. Whenever copy is set with extra
+space between the lines it is said to be _leaded_ (pronounced
+"leded")--the name is taken from the piece of lead that is placed
+between the lines of type. The reporter must gradually learn the names
+of the various kinds of type and the various proofreader's signs that
+are used to indicate the way in which the type is to be set, for the
+whole work of writing the news is governed and limited by the mechanical
+possibilities of the printing office. The commonest signs used by the
+proofreader or the copyreader, together with instructions for preparing
+copy, are given in the Style Book at the end of this volume. (A complete
+list of proofreader's signs can be found in the back of any large
+dictionary.) _Style_ is a word which editors use to cover a multitude of
+rules, arbitrary or otherwise, concerning capitalization, punctuation,
+abbreviation, etc. A paper that uses many capital letters is said to
+follow an _up_ style, and a paper that uses small letters instead of
+capitals whenever there is a choice is said to follow a _down_ style.
+Every newspaper has its own style and usually prints its rules in a
+Style Book; the Style Book given in this volume has been compiled from
+many representative newspaper style books. It sets forth an average
+style and the beginner is advised to follow it closely in his practice
+writing--for, as editors say, "uniformity is better than a strict
+following of style."
+
+
+
+
+IV
+
+THE NEWS STORY FORM
+
+
+When we come to the writing of the news we find that there are many
+sorts of stories that must be written. In the newspaper office they are
+called simply stories without distinction. For the purpose of study they
+may be classified to some extent, but this classification must not be
+taken as hard and fast. The commonest kind of story is the simple news
+story. Practically all newspaper reports are news stories, but as
+distinguished from other kinds of reports the simple news story is the
+report of some late event or occurrence. It is usually concerned with
+unexpected news, and is the commonest kind of story in any newspaper. It
+is to be distinguished from reports of speeches, interview stories,
+court reports, social news, dramatic news, sporting news, human-interest
+stories, and all the rest. The distinction is largely one of form and
+does not exist to any great extent in a newspaper office where all
+stories are simply "stories."
+
+The simple news story is probably the most variable part of a newspaper.
+Given the same facts, each individual reporter will write the story in
+his individual way and each editor will change it to suit his individual
+taste. No two newspapers have exactly the same ideal form of news story
+and no newspaper is able to live up to its individual ideal in each
+story.
+
+But there are general tendencies. Certain things are true of all news
+stories; whether the story be the baldest recital of facts or the most
+sensational featuring of an imaginary thrill in a commonplace happening,
+certain characteristics are always present. And these characteristics
+can always be traced to one cause--the effort to catch and hold the
+reader's interest. When a busy American glances over his newspaper while
+he sips his breakfast coffee or while he clings to a strap on the way to
+his office, he reads only the stories that catch his interest--and he
+reads down the column in any one story only so long as his interest is
+maintained. Hence the ideal news story is one which will catch the
+reader's attention by its beginning and hold his interest to the very
+end. This is the principle of all newspaper writing.
+
+The interest depends, in a large measure, on the way the facts are
+presented. True, certain facts are in themselves more interesting to a
+casual reader than others, but just as truly other less interesting
+facts may be made as interesting through the reporter's skill. The most
+interesting of stories may lose its interest if poorly presented, and
+facts of the most commonplace nature may be made attractive enough to
+hold the reader to the last word. The aim of every reporter and of every
+editor is to make every story so attractive and interesting that the
+most casual reader cannot resist reading it.
+
+In the old days news stories were written in the logical order of events
+just like any other narrative, but constant change has brought about a
+new form, as different and individual as any other form of expression.
+Unlike any other imaginable piece of writing, the news story discloses
+its most interesting facts first. It does not lead the reader up to a
+startling bit of news by a tantalizing suspense in an effort to build up
+a surprise for him; it tells its most thrilling content first and trusts
+to his interest to lead him on through the details that should logically
+precede the real news. Therefore every editor admonishes his reporters
+"to give the gist of the news first and the details later."
+
+There are other reasons for this peculiar reversal of the logical order
+of narrative. Few readers have time to read the whole of every story,
+and yet they want to get the news--in the shortest possible time.
+Therefore the newspaper very kindly tells the important part of each
+story at the beginning. Then if the reader cares to hear the details he
+can read the rest of the story; but he gets the news, anyway. Again, if
+the exigencies of making up the stories into a paper of mechanically
+limited space require that a story be cut down, the editor may slash off
+a paragraph or two at the end without depriving the story of its
+interest. Imagine the difficulty of cutting down a story that is told in
+its logical order! If the real news of the story were in the last
+paragraph it would go in the slashing, and what would be left? Whereas,
+if the gist of the story comes first the editor may run any number of
+paragraphs or even the first paragraph alone and still have a complete
+story.
+
+The arrangement of news stories in American newspapers is thus a very
+natural one, resulting from the exigencies of the business. Just how to
+fit every story to this arrangement is a difficult task. However, there
+are certain rules that the reporter may apply to each story, and these
+are very simple.
+
+In the first place, almost every story has a feature--there is some one
+thing in it that is out of the ordinary, something that gives it
+interest and news value beyond the interest in the incident behind it.
+No two stories have the same interesting features; if they had, only
+one of them would be worth printing and that would be the first. This
+extraordinary feature the reporter must see at once. If a building burns
+he must see quickly what incident in the occurrence will be of interest
+to readers who are reading of many fires every day. If John Smith falls
+off a street car the reporter must discover some interesting fact in
+connection with Mr. Smith's misfortune that will be new and attractive
+to readers who do not know John and are bored with accounts of other
+Smiths' accidents. The accident itself may be interesting, but the part
+of the accident that is out of the ordinary--the thing that gives the
+accident news value--is the feature of the story, and the reporter must
+tell it first.
+
+Thoroughly determined to tell the most interesting part, the gist, of
+his story in the first paragraph, the reporter must remember that there
+are certain other things about the incident that the reader wants to
+know just as quickly. There are certain questions which arise in the
+reader's mind when the occurrence is suggested, and these questions must
+be answered as quickly as they are asked. The questions usually take the
+form of _when?_ _where?_ _what?_ _who?_ _how?_ _why?_ If a man falls off
+the street car we are eager to know at once who he was, although we
+probably do not know him, anyway; where it happened; when it happened;
+how he fell; and why he fell. If there is a fire we immediately ask what
+burned; where it was; when it burned; how it burned; and what caused it
+to burn. And the reporter must answer these questions with the same
+breath that tells us that a man fell off the car or that there was any
+fire at all.
+
+The effort to answer these questions at once has led to the peculiar
+form of introduction characteristic of every newspaper story. Newspaper
+people call it the lead. It is really nothing but the statement of the
+briefest possible answers to all these questions in one sentence or one
+short paragraph. It tells the whole story in its baldest aspects and
+aims to satisfy the reader who wants only the gist of the story and does
+not care for the details. When all his questions have been answered in
+one breath he is ready to read the details one at a time, but he won't
+be satisfied if he must read all about how the fire was discovered
+before he is told what building burned, when it burned, etc. For
+example:
+
+             |  Fire of unknown origin caused the     |
+             |practical destruction of the famous old |
+             |"Crow's Nest," at Tenth and Cedar       |
+             |streets, perhaps the best known and     |
+             |oldest landmark in the Second ward,     |
+             |yesterday afternoon.--_Milwaukee Free   |
+             |Press._                                 |
+
+This is the lead of an ordinary news story--a newspaper report of a
+fire. The lead begins with "Fire" because the story has no unusual
+feature--no element in it that is more interesting than the fact that
+there was a fire. The reporter considers "Fire" the most important part
+of his story and begins with it. As soon as we read the word "Fire" we
+ask, "When?"--"Where?"--"What?"--"Why?"--"How?" The reporter answers us
+in the same sentence with his announcement, "yesterday afternoon"--"at
+Tenth and Cedar Streets"--"the famous old 'Crow's Nest,' perhaps the
+best known and oldest landmark in the Second ward"--"unknown origin."
+_How_ is not worth answering, in this case, beyond the statement that
+the destruction was practically complete. Thus the reporter has told us
+his bit of news and answered our most obvious questions about it at the
+very beginning of his story--in one sentence. According to newspaper
+rules this is a good lead. The order of the answers will be considered
+later. For the present we are concerned only with the facts that the
+lead must contain.
+
+
+
+
+V
+
+THE SIMPLE FIRE STORY
+
+
+The simplest news story is the story which has no feature--which has no
+fact in it more important than the incident which it reports--e.g., the
+fire at the end of the last chapter. If we recall the various elements
+of news value we note that any incident may be given greater news value
+by the presence of some unusual or interesting feature--a great loss of
+life, an unusual time, a strikingly large loss of property, or simply a
+well-known name. Such a story is called a story with a feature, because
+its interest depends not so much on the incident itself as upon the
+unusual feature within the incident. On the other hand, many news
+stories do not have features. Many stories are worth printing simply
+because of the incident which they report, without any unusual feature
+within them. For example, a building may burn with no loss of life, no
+great loss of property, and no striking occurrence in connection with
+the burning. Such a fire is worth reporting, but there is no fact in
+the story more interesting than the fact that there was a fire; the
+story has no feature.
+
+The leads of these two kinds of stories are different. When a story has
+a feature it is customary to play up that feature in the first line of
+the lead. If the story has no feature, is simply the record of a
+commonplace event, the lead merely announces the incident and answers
+the reader's questions about it.
+
+The commonest of featureless stories is the simple fire story in which
+nothing out of the ordinary happens, no one is killed, no striking
+rescues take place, and no tremendous amount of property is destroyed.
+This may be taken as typical of all featureless stories. The reporter,
+in writing a report of such a fire, merely answers in the lead the
+questions _when_, _where_, _what_, _why_, and perhaps _how_, that the
+reader asks concerning the fire. The most striking part of the story is
+that there was a fire; hence the story begins with "Fire." For example:
+
+             |  Fire today wrecked the top of the       |
+             |six-story warehouse at 393 to 395         |
+             |Washington street, used by the United     |
+             |States army as a medical supply           |
+             |store-room for the Department of the      |
+             |East. Capt. Edwin Wolf, who is in charge  |
+             |of the warehouse, says the loss on tents, |
+             |blankets, cots, and other bedding stored  |
+             |on the floors of the building was         |
+             |large.--_New York Mail._                  |
+
+As one reads down through the rest of the story he finds nothing more
+striking than the fact that there was a fire. Therefore there is no
+particular feature. No one was killed; no one was injured; the loss was
+not extraordinary for a New York fire--nothing in the story is of
+greater interest than the mere fact that there was a fire. Hence the
+story begins with the word "Fire." Notice that it does not begin "A
+fire" or "The fire"--for the simple reason that the word _fire_ does not
+need an article before it. The editor will also tell you that it is not
+considered good to begin a story with an article, for the beginning is
+the most important part of a story and it is foolish to waste that
+advantageous place on unimportant words.
+
+The first word tells the reader that there has been a fire. He
+immediately asks where?--what burned?--when?--how much was lost? And the
+reporter proceeds to answer his questions in their order of importance.
+The reporter who wrote this story apparently thought that the time was
+of greatest importance and slipped it in at once--"today." He might just
+as well have left the time until the end of the sentence because it is
+not of very great interest. He considers the question "_Where_" of next
+importance, and answers with "the top of the six-story warehouse at 393
+to 395 Washington Street." The question "what?" he answers with a
+clause, "used by the United States army as a medical supply store-room
+for the Department of the East." He does not try to answer the question
+"_why_?" because, as the rest of the story tells us, no one knew exactly
+what caused the fire. And as for the "_How_?" there is nothing
+extraordinary in the way that it burned beyond the fact that it burned.
+Thus, in one sentence, he has answered all four questions about the
+fire, except a little query concerning the amount of the loss. That he
+considers worth a separate sentence of details.
+
+This is not a perfect lead. Many editors would consider it faulty, but
+it illustrates one way of writing the lead of a featureless fire story.
+Obviously there are faults; for instance, the time is given an undue
+amount of emphasis and the cause is omitted.
+
+Suppose that we construct another lead from the same story--a lead which
+would be more in accordance with the logic of newspaper writing. We
+shall begin with the word "fire," but after it we shall slip in a little
+mention of the cause since to the reader not directly acquainted with
+the property that point is always of the greatest importance. Then we
+shall tell where the fire was and after that what was burned. And last
+of all we shall give the time since that is of least importance to the
+average reader. This would be the result:
+
+             |  Fire of unknown origin wrecked the top  |
+             |of the six-story warehouse at 393-395     |
+             |Washington street, used by the United     |
+             |States army as a medical supply           |
+             |store-room for the Department of the      |
+             |East, destroying a large number of tents, |
+             |blankets, cots, and other bedding, today. |
+
+We might as well have put the _what_ before the _where_ or altered the
+lead in any other way. But we would always begin with the word "fire"
+and answer all the questions that the reader might ask--in one short
+simple sentence. This constitutes our lead. We have told the casual
+reader what he wants to know about the fire. We give him more details
+about the fire if he wants to read them, but after we have stated the
+case clearly in the lead we no longer reckon his time so carefully and
+allow ourselves some latitude in the telling. After the lead we begin
+the story from the beginning and tell it in its logical order from start
+to finish, always bearing in mind that the editor may chop off a
+paragraph or two at the end.
+
+Hence the second paragraph of the story as it appeared in _The Mail_
+begins:
+
+             |  John Smith, a man employed in the      |
+             |stock-room on the sixth floor, saw smoke |
+             |rolling out of one corner and notified   |
+             |other employees in the building, while   |
+             |Patrolman Hogan turned in an alarm.      |
+
+We are back at the beginning now and telling things as they came. The
+next paragraph of the story tells us how they fought the fire, and the
+third tells us how they finally brought it under control. The last
+paragraph of the story reads:
+
+             |  There are three such warehouses in the  |
+             |country, one at St. Louis, another at San |
+             |Francisco, but the one in this city is by |
+             |far the largest. In it are kept supplies  |
+             |for the Departments of the East, Gulf,    |
+             |Cuba, Porto Rico, and the Philippines.    |
+
+The editor of _The Mail_ had plenty of space that day and saw fit to run
+this last paragraph, but we should not have lost much had he chopped it
+off. Perhaps the reporter's copy contained still another paragraph
+telling about Captain Wolf, but that did not pass the editorial pencil.
+Even more of the story might have been slashed without depriving us of
+much of the interesting news.
+
+Judging from the above story a newspaper account is divided into two
+separate and independent parts: the lead and the detailed account. The
+lead is written for the casual reader and contains all the necessary
+facts about the fire; it may stand alone and constitute a story in
+itself. The detailed account is written for the reader who wants to hear
+more about the incident, and is written in the logical order of
+events--with an eye to the danger of the editor's pencil threatening the
+last paragraphs. In other words, the reporter tells his story briefly in
+one paragraph and then goes back and tells it all over again in a more
+detailed way. If the story is of sufficient importance the second
+telling may not be sufficient and he may go back a third time to the
+beginning and tell it again with still greater detail--but that is
+another matter. For the present we shall consider only the lead and the
+first detailed account.
+
+There are certain other points to be noticed in the report of a
+featureless fire. Under no condition should it begin with the time. Why?
+Because, unless the time is of extreme interest, no one cares
+particularly when the fire occurred. And if the time is of great
+interest--as, for instance, if a church should burn while the
+congregation is in it--then the time becomes a feature to be played up
+and the story is no longer a featureless story. We are now considering
+stories in which nothing is of greater interest than the mere fact that
+there was a fire.
+
+The same is true of the location. Who cares what street the fire was on
+until he knows more about the fire? If the location were of such
+significant importance as to be played up, the story would no longer be
+a featureless story.
+
+The paragraphing is also important. Since the lead is in itself a
+separate part of the story it should always be paragraphed separately.
+Do not let the beginning of the detailed account lap over into the lead,
+and do not introduce into the first paragraph any facts which are not
+absolutely a part of the lead--that is, facts that are absolutely
+essential to a general knowledge of the fire. When once you begin to
+tell the story in detail tell it logically and paragraph it logically.
+Do not tell us that John Smith discovered the fire and that the loss is
+$500 in the same paragraph. Take up each point separately and treat it
+fully before you leave it--then begin a new paragraph for the next item.
+
+                  *       *       *       *       *
+
+To take a hypothetical case, suppose that misfortune visits the home of
+John H. Jones, who lives at 79 Liberty Street. A defective flue sets his
+house on fire and it burns to the ground. By inquiry we find that the
+house is worth about $4,000 and is fully insured.
+
+There is nothing particularly striking about the story. We are sorry for
+Mr. Jones, but many houses worth $4,000 are set on fire by poor
+chimneys and many more houses burn down. No one was hurt, no one was
+killed; the most striking part of it all is that there was a fire. We
+would begin with the word "Fire." Perhaps our readers would be most
+interested in the cause of the fire and we shall tell them that first.
+Then we shall tell them what burned, when it burned, and where it stood.
+There is nothing else that a casual reader would want to know and the
+lead would read:
+
+             |  Fire starting in a defective chimney    |
+             |destroyed the residence of John H. Jones, |
+             |79 Liberty street, at midnight last       |
+             |night, causing a loss of $4,000, covered  |
+             |by insurance.                             |
+
+Our casual reader is satisfied. For the reader who wishes to know more
+about the fire we add a paragraph or two of detail. First, we may tell
+him who discovered the fire; then how the Jones family managed to
+escape; and after that how the fire was extinguished, and we might slip
+in a paragraph explaining just what trouble in the chimney made a fire
+possible. The editor may chop off any number of paragraphs or cut the
+story down to the lead, and yet our readers will get the facts and know
+just exactly what was the reason for the fire bell and the red sky at
+midnight last night.
+
+
+
+
+VI
+
+THE FEATURE FIRE STORY
+
+
+A fire story without a feature begins with "Fire" because there is
+nothing in the story more interesting than the fact that there has been
+a fire. Such was the case in the burning of John Jones's house in the
+last chapter. But just as soon as any part of the story becomes more
+interesting than the fact that there was a fire, the story is no longer
+featureless--it is a fire story with a feature, or, for the purposes of
+our study, _a feature fire story_. This feature may be related to the
+story in one of two ways. In the first place, the answer to some one of
+the reader's questions may be the feature--e.g., the answer to _when_,
+_where_, _what_, _how_, _why_, _who_. On the other hand, the feature may
+be in some unexpected attendant circumstance that the reader would not
+think of; for instance, loss of life, an interesting rescue, or
+something of that sort. Such a distinction is entirely arbitrary and
+would not be considered in a newspaper office, but it will make the
+matter simpler for the purposes of study.
+
+
+A. FEATURES IN ANSWERS TO READER'S CUSTOMARY QUESTIONS
+
+(_When_, _Where_, _What_, _How_, _Why_, _Who_).
+
+Suppose that John Jones's house did not burn in the usual way--suppose
+that there is some striking incident in the story that makes it
+different from other fire stories. The story has a feature. Perhaps the
+answer to some one of the reader's customary questions is more
+interesting than the answers to the others--so much more interesting
+that it supersedes even the fact that there was a fire. Then it would be
+foolish to begin with the mere word "fire" when we have something more
+interesting to tell. The fire takes a second place and we begin with the
+interesting fact that supersedes it. For the present we shall consider
+that this interesting fact is the answer to one of the questions that
+the reader always asks; for instance, why the house burned or when it
+burned.
+
+
+=1. Why.=--Perhaps Mr. Jones's house was set on fire in a very unusual
+way. There was a little party in session at the Jones's and some one
+decided to take a flash-light picture. The flash-light set fire to a
+lace curtain and before any one could stop it the house was afire. Few
+fires begin in that way, and our readers would be very interested in
+hearing about it. The story has a feature in the answer to the reader's
+_Why?_ And so we would begin our lead in this way:
+
+             |  A flashlight setting fire to a lace    |
+             |curtain started a fire which destroyed   |
+             |the residence of John H. Jones, 79       |
+             |Liberty street, at 11 o'clock last night |
+             |and caused a loss of $4,000.             |
+
+In this way the feature is played up at the beginning of the sentence,
+and yet the rest of the reader's questions are answered in the same
+sentence and he knows a great deal about the fire. Or, leaving Mr. Jones
+to his fate, we may give another example of an unusual cause taken from
+a newspaper. This was a big fire, and yet the unusual cause was of
+greater interest than the fire itself or the amount of property
+destroyed:
+
+             |  A tiny "joss stick," the lighted end of|
+             |which was no larger than a pinhead, is   |
+             |thought to have been responsible for a   |
+             |fire that destroyed the White City       |
+             |Amusement Park at Broad Ripple last      |
+             |night. The loss to the amusement company |
+             |is $161,000.--_Indianapolis News._       |
+
+
+=2. Where.=--To return to Mr. Jones, there may have been some other
+incident in the burning of his house aside from the cause that was of
+exceptional interest. Let us say that his house stood in a part of the
+town where a fire was to be feared. Perhaps it stood within twenty feet
+of the new First Congregational Church. The burning of Jones's house
+would then be insignificant in comparison to the danger to the costly
+edifice beside it, and our readers would be more interested in an item
+concerning their church. The answer to _Where?_ is more interesting than
+the fire itself. Hence we would bury, so to speak, Mr. Jones's
+misfortune behind the greater danger, and the story would read:
+
+             |  Fire endangered the new First          |
+             |Congregational Church on Liberty street, |
+             |erected at a cost of $100,000, when the  |
+             |home of J. H. Jones, in the rear of the  |
+             |church, was destroyed at midnight last   |
+             |night.                                   |
+
+Or:
+
+             |  The First Congregational Church,       |
+             |recently built at a cost of $100,000, was|
+             |seriously threatened by a fire which     |
+             |destroyed the residence of John H. Jones,|
+             |78 Liberty street, within twenty feet of |
+             |the church, at midnight last night.      |
+
+
+Turning again to the daily papers, we can find many fire stories in
+which the location of the burned structure is important enough to take
+the first line of the lead. Here is one:
+
+             |  The Plaza Hotel had a few uncomfortable|
+             |moments last night when flames from a    |
+             |building adjoining at 22 West Fifty-ninth|
+             |street were shooting up as high as the   |
+             |tenth story of the hotel and the fire    |
+             |apparatus which responded to the delayed |
+             |alarm was looking for the blaze several  |
+             |blocks away.--_New York Sun._            |
+
+
+=3. When.=--Sometimes the time of the fire is very interesting. John H.
+Jones's house may have caught fire from a very insignificant thing and
+its location may have been unimportant, but the fire may have come at an
+unusual time. Perhaps Mr. Jones's daughter was being married at a quiet
+home wedding in her father's house and in the midst of the ceremony the
+roof of the house burst into flames. The unusual time would be
+interesting; the answer to _When?_ would be the feature. We might write
+the lead thus:
+
+             |  During the wedding of Miss Mary Jones  |
+             |at the home of her father, John H. Jones,|
+             |78 Liberty street, last night, the house |
+             |suddenly burst into flames and the bridal|
+             |party was compelled to flee into the     |
+             |street.                                  |
+
+Or:
+
+             |  Fire interrupted the wedding of Miss   |
+             |Mary Jones at her father's home, 78      |
+             |Liberty street, last night, when the     |
+             |house caught fire from a defective       |
+             |chimney during the ceremony.             |
+
+The daily papers furnish many illustrations of fires at unusual
+times--here is one:
+
+             |When the snowstorm was at its height     |
+             |early this morning, a three-story brick  |
+             |building at Nos. 4410-18 Third Avenue,   |
+             |Brooklyn, caught fire, and the flames    |
+             |spread rapidly to an adjoining tenement, |
+             |sending a small crowd of shivering       |
+             |tenants into the icy street.--_New York  |
+             |Post._                                   |
+
+
+=4. What.=--(_a_) _The Burned Building._--Many fire stories have their
+feature in the answer to the reader's _What?_ Not infrequently the
+building itself is of great importance. Naturally "The residence of John
+H. Jones" would not make a good beginning, if John Jones is not well
+known, because people would be more interested in reading about a mere
+fire than in reading about the residence of John H. Jones, whom they do
+not know. For it must be remembered that it is the first line that
+catches the reader's eye and the interest or lack of interest in the
+first line determines whether or not the story is to be read. Now,
+suppose that a building that is very well known burns--the City Hall,
+the Albany State House, the Herald Square Theater--the mere mention of
+the building will attract the reader's attention. Therefore the reporter
+begins with the answer to _What?_ the name of the building, as in the
+following cases:
+
+             |  GLENS FALLS, N. Y., Aug. 17.--The      |
+             |Kaatskill House, for many years a popular|
+             |Lake George resort, was completely       |
+             |destroyed by fire this forenoon.--_New   |
+             |York Times._                             |
+
+             |  The First M. E. Church of Chelsea,     |
+             |familiarly known as the Cary avenue      |
+             |church, was damaged last night to the    |
+             |amount of $7,000 by fire.--_Boston       |
+             |Herald._                                 |
+
+
+(_b_) _The Amount of Property Destroyed._--The answer to _What burned?_
+is not necessarily a building, for the building itself may not be worth
+featuring. The contents of the building may be more interesting,
+especially if the amount of property destroyed can be put in striking
+terms, such as $2,000,000 worth of property, or two thousand chickens,
+or fifty-three automobiles, or 7,000 gallons of whisky. These figures
+printed at the beginning of the first paragraph catch the reader's eye,
+thus:
+
+             |  Five automobiles, valued at $5,800, and|
+             |property amounting to $6,200 were        |
+             |destroyed last evening when fire broke in|
+             |the repair shop of the G. W. Browne Motor|
+             |company, 228-232 Wisconsin street, near  |
+             |the North-Western station.--_Milwaukee   |
+             |Sentinel._                               |
+
+
+=5. How.=--Very rarely the manner in which a fire burns is quite unique
+and deserves featuring. It is inconceivable that John Jones's house
+could burn in any very unusual way--"with many explosions," "with a
+glare of flames that aroused the whole city," "with vast clouds of oily
+smoke"--but some fires do burn in some such a way and are interesting
+only for the way they burned. The following story begins with the answer
+to _How?_ although the manner might be described more explicitly:
+
+             |  Stubborn fires have been fought in the |
+             |past, but one of the hardest blazes to   |
+             |conquer that the local department ever   |
+             |contended with gutted the plant of N.    |
+             |Drucker & Co., manufacturers of trunks   |
+             |and valises, at the northwest corner of  |
+             |Ninth and Broadway, last                 |
+             |night.--_Cincinnati Commercial Tribune._ |
+
+
+=6. Who.=--Just as it would be foolish to begin with "the residence of
+John Jones," since the building is not well known, it would not be
+advisable to begin with John Jones's name, no matter what part he
+played. John Jones is not well known and so to the newspaper he is just
+a man and is treated impersonally regardless of what he does or what
+happens to him. Our interest in him is entirely impersonal, and all we
+want to know about him is what he has done or what has happened to him.
+Therefore few reporters would begin a story with John Jones's name.
+However, let some man who is well known do or suffer the slightest thing
+and his name immediately lends interest to the story--and therefore
+commands first place in the introduction. If John D. Rockefeller should
+even witness a fire, or if President Taft should be in the slightest way
+connected with a fire, the mere fire story would shrink into
+significance behind the name. And so, very often it is advisable to
+begin a fire story with a name, if the name is of sufficient prominence.
+It is not necessary that the well-known man's property be destroyed or
+even endangered for his name to have the first place in the first
+sentence of the lead; if the well-known man has anything whatever to do
+with the fire his name should be featured because to the average reader
+the interest in his name overshadows any interest in the fire. In this
+example, the name overshadows a striking loss of property and the story
+begins with the answer to _Who?_
+
+             |  NEW YORK, Nov. 6.--While Clendenin J.  |
+             |Ryan, son of Thomas F. Ryan, the traction|
+             |magnate, and a band of volunteer fire    |
+             |fighters--many of them                   |
+             |millionaires--fought a blaze which       |
+             |started in the garage of young Ryan's    |
+             |country estate near Suffern, N. Y., early|
+             |in the morning, three valuable           |
+             |automobiles, seven thoroughbred horses   |
+             |and several outbuildings were totally    |
+             |destroyed.--_Milwaukee Sentinel._        |
+
+It will be seen that in each of the above feature fire stories some
+incident in the fire, or connected with the fire, overshadows the mere
+fact that there was a fire and makes it advisable to begin the story of
+the fire with the fact or incident of unusual interest. Furthermore, in
+each of these stories the unusual feature in the story is a direct
+answer to one of the reader's questions--_when?_ _where?_ _how?_ _what?_
+_why?_ _who?_ In other words, the reporter in answering these questions,
+as he must in the lead of every story, finds the answer to one question
+so much more interesting than the answer to any of the other questions
+that he puts it first. In every fire story, however, the feature is not
+so easily discovered.
+
+
+B. FEATURES IN UNEXPECTED ATTENDANT CIRCUMSTANCES
+
+There are other things in the day's fire stories, besides the answers to
+the reader's questions, that may overshadow the rest of the story and
+deserve to be featured. Very often there are unexpected attendant
+circumstances occurring simultaneously with the fire or resulting from
+the fire to command our interest. Perhaps a number of people are killed
+or injured; then we want to know about them first, and the reporter
+neglects to answer our questions for the moment while he tells us the
+startling attendant circumstances that we had not expected. Even so,
+while giving first place to the feature, he does not forget our
+questions but answers them in the same sentence. Hence the introduction
+of a fire story with significant attendant circumstances begins with the
+startling fact resulting from the fire and then goes on to answer the
+reader's questions--in the same sentence.
+
+This is not so difficult as it may sound. Suppose that when John Jones's
+house burns there is a stiff breeze blowing and the chances are that all
+the other houses in the block will go with it. All of his neighbors
+become frightened and work with feverish haste to move their household
+goods out into the street. In the end the fire department succeeds in
+confining the fire to Mr. Jones's house and his neighbors promptly carry
+their chattels back indoors thanking the god of good luck. Now the mere
+fact that John Jones's house burned down is rather insignificant beside
+the fact that a dozen families were driven from their homes by the fire.
+Therefore the reporter would begin thus:
+
+             |  Twelve families were driven from their |
+             |homes by a fire which destroyed the      |
+             |residence of John H. Jones, 78 Liberty   |
+             |street, at 11 o'clock last night. The    |
+             |fire was at length kept from spreading   |
+             |and the neighboring residences were      |
+             |reoccupied.                              |
+
+Or to take an incident from the daily press in which the neighbors were
+not so fortunate; although they might have entirely lost their homes:
+
+             |  Twenty-two families in the six-story   |
+             |tenement at 147 Orchard street were      |
+             |routed out of the house twice early today|
+             |by fires which caused a great deal of    |
+             |smoke, but little real damage.--_New York|
+             |Mail._                                   |
+
+
+=1. Death.=--(a) _Number of Dead._--The most usual attendant
+circumstances that will come to our notice is death in the fire. Let us
+say that Mr. Jones's three children were alone in the house and burned
+to death. Their death would be of more interest to us than the burning
+of their father's house--and our story would necessarily begin in this
+way:
+
+             |  Three children were burned to death in |
+             |a fire which destroyed the home of their |
+             |father, John H. Jones, 78 Liberty street,|
+             |last night.                              |
+
+So common is death in connection with fire that almost every day's paper
+contains one or more stories beginning "Ten persons were cremated----"
+or "Four firemen were killed----" And in every case the loss of human
+life is considered of greater importance than any other incident in the
+story, and the number of dead always takes precedence over many another
+startling feature. Here are a few examples:
+
+             |  JOHNSTOWN, Pa., Jan. 18.--Seven men    |
+             |were cremated in a fire that burned to   |
+             |the ground three double houses near      |
+             |Berlin, Somerset County, early this      |
+             |morning.--_New York Sun._                |
+
+             |  Three children of Mr. and Mrs. Bernard |
+             |Lindberg, 3328 Nineteenth avenue south,  |
+             |were cremated in a fire which destroyed  |
+             |their home shortly after 12 o'clock      |
+             |yesterday. The children had been left    |
+             |alone in the house, shut up in their     |
+             |bedroom, etc.--_St. Paul Pioneer Press._ |
+
+             |  One fireman was killed, another fireman|
+             |and a woman were injured and eight people|
+             |escaped death by a narrow margin Saturday|
+             |night in a fire which destroyed the,     |
+             |etc.--_Milwaukee Sentinel._              |
+
+             |  NEW YORK, March 27.--One hundred and   |
+             |forty-one persons are dead as a result   |
+             |of the fire which on Saturday afternoon  |
+             |swept the three upper floors of the      |
+             |factory loft building at the northwest   |
+             |corner of Washington place and Greene    |
+             |street. More than three-quarters of this |
+             |number are women and girls, who were     |
+             |employed in the Triangle Shirt Waist     |
+             |factory, where the fire                  |
+             |originated.--_Boston Transcript._        |
+
+(b) _List of Dead._--When the number of dead or injured reaches any very
+significant figure it is customary to make a table of dead and injured.
+This table is usually set into the story close after the lead, but very
+often the list is put in a "box" and slipped in above the story. In
+writing the story, however, the reporter disregards the table and begins
+his lead as if there were no table: e.g., "Twelve firemen were killed
+and fourteen injured in a fire----" The list usually gives the name,
+address (or some other identification), and the nature of the injury,
+thus:
+
+             |            =Injured Firemen:=           |
+             |                                         |
+             |Capt. Frank Makal, Engine Co. No. 4,     |
+             |cut by glass.                            |
+             |                                         |
+             |Acting Captain W. E. Brown, fire boat    |
+             |No. 23, cut by glass.                    |
+             |                                         |
+             |Peter Ryan, No. 15, flying               |
+             |glass.--_Milwaukee Free Press._          |
+
+Or:
+
+             |              =The Dead:=                |
+             |                                         |
+             |Mrs. Charles Smith, 14 W. Gorham         |
+             |street.                                  |
+             |                                         |
+             |John Johnson, 1193 Chatham street.       |
+             |                                         |
+             |            =The Injured:=               |
+             |                                         |
+             |Thomas Green, 1111 Grand street; face    |
+             |cut by flying glass.                     |
+             |                                         |
+             |James Brown, 176 Orchard avenue;         |
+             |internal injuries; may die.              |
+
+(c) _Manner of Death._--A number of fatalities at the beginning always
+attracts attention. Not infrequently the manner or the cause, especially
+in the case of a single death, is worth the first place in the lead--not
+as "One man killed----" but as "Crushed beneath a falling wall, a man
+was killed." If a man burns to death in a very unusual way, or for an
+unusual reason, we are more interested in the way he was burned, or the
+reason that he burned, than in the mere fact that he was burned to
+death. The first line then tells us how or why he was burned. Thus:
+
+             |  To save his money, which he hoped would|
+             |some day raise him from the rank of a    |
+             |laborer to that of a prosperous merchant,|
+             |Hing Lee, a Chinese laundryman, ran back |
+             |into his burning laundry at 3031 Nicollet|
+             |avenue today, after he was once safe from|
+             |the flames, and was so badly burned that |
+             |physicians say he cannot                 |
+             |live.--_Minneapolis Journal._            |
+
+
+=2. Injuries.=--Very often no one is killed in a fire but some one is
+injured. For example, five firemen are overcome by ammonia fumes or two
+men are seriously injured by a falling wall. This then becomes the
+feature. Injuries to human beings, if serious or in any considerable
+number, take precedence over other features, just as loss of human life
+does. Here is an example from the press in which all the injuries are
+gathered together at the beginning:
+
+             |  Six firemen and two laborers were      |
+             |overcome by smoke, while three other     |
+             |firemen received minor injuries by flying|
+             |glass in a fire which broke out yesterday|
+             |morning at 10:30 o'clock in the          |
+             |Wellauer-Hoffman building, at,           |
+             |etc.--_Milwaukee Free Press._            |
+
+
+=3. Rescues.=--(a) _Number of People Rescued._--When people are rescued
+from great danger in a fire their escape makes a very good feature. If
+many of them are rescued or escape very narrowly, the mere number of
+people saved deserves the first place, as:
+
+             |  More than 150 men and women were saved |
+             |from death today in a fire at 213-217    |
+             |Grand street by toboganning from the roof|
+             |of the burning structure on a board chute|
+             |to the roof of an adjoining five-story   |
+             |building.--_New York Mail._              |
+
+(b) _Manner of Rescue._--But more often the manner of their escape
+interests us most. If a man slides down a rope for four stories to
+escape death by fire we are more interested in how he saved himself than
+in the fact that he didn't burn, and so we tell how he escaped, in the
+first line. In the same way, if unusual means are used to save one or
+more persons, the means of rescue is usually worth featuring. For
+example:
+
+             |  Overcoats used as life nets saved the  |
+             |lives of a dozen women and children in a |
+             |fire of incendiary origin in the         |
+             |three-story frame tenement house at 137  |
+             |Havemeyer avenue, Brooklyn, to-day,      |
+             |etc.--_New York Mail._                   |
+
+
+=4. Property Threatened.=--Death and injury are the commonest unexpected
+circumstances in fire stories, but they are not the only ones that may
+be worth featuring. There is an inconceivable number of things that may
+happen at a fire and overshadow all interest in the fire itself. A good
+feature may be found in the property that is threatened. Often the fire
+in itself is insignificant, but because of a high wind or other
+circumstances it threatens to spread to neighboring buildings or to
+devastate a large area. In such a case the amount of property threatened
+or endangered deserves a place in the very first line, especially if it
+exceeds the amount of property actually destroyed and if it can be put
+in a striking way; _i. e._, the entire waterfront district, or
+twenty-five dwelling houses, or $5,000,000 worth of property. When
+contrasted with the small amount of damage actually done, the amount
+that is threatened becomes more important. Thus:
+
+             |  Fire that for a time threatened        |
+             |$2,000,000 worth of property destroyed   |
+             |$15,000 worth of lumber owned by the     |
+             |Milwaukee Lumber Company, 725 Clinton    |
+             |street, yesterday....                    |
+             |                                         |
+             |The territory between Mitchell street    |
+             |and the Kinnickinnic river and Reed      |
+             |street, to the lake, containing          |
+             |manufactories, dwellings and stores, was |
+             |menaced.--_Milwaukee News._              |
+
+
+=5. Fire Fighting.=--Not unusually a serious fire results from the fact
+that it was not checked for some reason or other during its earlier
+stages. Perhaps the whole thing might have been avoided, or, on the
+contrary, a big fire may be extinguished with unexpected ease or unusual
+skill. In rare cases this matter of very efficient or very inefficient
+fire fighting is of sufficient importance to take the first place in the
+lead. For example:
+
+             |  Almost total lack of water pressure is |
+             |blamed for the big loss in a fire started|
+             |by a firebug to-day in the five-story    |
+             |factory building of Lamchick Brothers,   |
+             |manufacturing company, 400-402 South     |
+             |Second street, Williamsburg.--_New York  |
+             |Mail._                                   |
+             |                                         |
+             |  Rotten hose, which burst as fast as it |
+             |was put in use, imperiled the lives of   |
+             |more than a score of firemen to-day at a |
+             |blaze which swept the three-story frame  |
+             |flat house at Third avenue and           |
+             |Sixty-seventh street, Brooklyn, from     |
+             |cellar to roof, etc.--_New York Mail._   |
+
+
+=6. Crowd.=--Not uncommonly in the city a tremendous crowd gathers to
+watch a fire and blocks traffic for hours. In the absence of other
+significant incidents--death, great loss, etc.--the reporter may begin
+his story with an account of the crowd present or the blockade of
+traffic. Such a beginning should always be used only as a last resort
+when a fire has no other interesting phase, for crowds always gather at
+fires and only a very serious blocking of traffic is worth reporting.
+Thus:
+
+             |  Fully 15,000 persons were attracted to |
+             |the scene of the fire in the portion of  |
+             |the plant of the Greenwald Packing       |
+             |Company, Claremont Stock Yards, which was|
+             |discovered at 4:56 yesterday             |
+             |afternoon.--_Baltimore American._        |
+             |                                         |
+             |  Twenty-five thousand people jammed     |
+             |Broadway between Bleecker and Bond       |
+             |streets yesterday noon and had the       |
+             |excitement of watching 250 girls escape  |
+             |from a twelve-story loft building which  |
+             |was afire.--_New York Sun._              |
+
+
+=7. Miscellaneous.=--There is an infinite number of things that may
+happen at a fire and overshadow the mere fire interest. These are the
+things that make one fire different from another, and whenever they are
+of sufficient importance they become the feature to be played up in the
+first line of the introduction. It would be impossible to enumerate all
+the unexpected things that might happen during a fire. It is this
+element of unexpected possibilities that makes the reporting of fires
+interesting, and an alert reporter is ever on the lookout for a new and
+unusual development in the fire to be used as the feature of his story.
+Here are the leads of a few fire stories clipped from the daily
+newspapers:
+
+             |  With her home on fire and the smoke    |
+             |swirling around her head, Mrs. B. B.     |
+             |Blank, a well-known leader of the        |
+             |social set of Roland Park, bravely       |
+             |stood by her telephone and called upon   |
+             |the Roland Park Fire Company for aid     |
+             |shortly after 8 o'clock this             |
+             |morning.--_Baltimore Star._              |
+             |                                         |
+             |  Four charming young women attired in   |
+             |masculine apparel were the unexpected    |
+             |and embarrassed hosts of four companies  |
+             |of fire department "laddies" last night, |
+             |when fire broke out, etc.--_Milwaukee    |
+             |Free Press._                             |
+             |                                         |
+             |  For the first time since its           |
+             |installation the high-pressure water     |
+             |power system was relied upon solely last |
+             |night to fight a Broadway fire, and      |
+             |Chief Croker said that he was well       |
+             |satisfied with its work. The fire began  |
+             |on the third floor of the six-story,     |
+             |etc.--_New York Times._                  |
+
+
+C. FIRE STORIES WITH MORE THAN ONE FEATURE
+
+It would appear from the foregoing examples that almost every fire story
+has a feature. And so it usually has. The great majority of fires that
+are worth reporting at all have some unusual incident connected with
+them that overshadows the mere fire itself. Sometimes the features are
+not of great significance, but it is only as a last resort that a
+reporter begins his story with "Fire"--only when the most ordinary of
+fires is to be covered.
+
+Unusual features are so common in connection with fires that very often
+a single fire has more than one unusual feature. Perhaps the cause of
+the fire is exceptionally striking and at the same time the amount of
+property destroyed is of great news value in itself. Or the time and
+some unexpected attendant circumstance are both worth the first place.
+In that case the reporter has to choose between the two features and
+begin with the one that seems to him to be the more striking. The other
+feature or features may often be arranged in the order of importance
+immediately after the most striking fact at the beginning, provided that
+this does not make the lead unduly complicated.
+
+For instance, a cold storage warehouse burns and four firemen are
+overcome by the fumes from the ammonia pipes. Next door is a hospital
+and the flames frighten the patients almost into a panic. Either one of
+these incidents is worth the first line of the story. But which one is
+of the greater importance? Naturally the element of danger to human life
+must be considered first and the actual disabling of four firemen is of
+greater significance than a possible panic in the hospital. Following
+that line of logic our story would begin:
+
+             |  Four firemen were overcome by ammonia  |
+             |fumes and a panic in the St. Charles     |
+             |Hospital was narrowly averted, as a      |
+             |result of a fire which destroyed the cold|
+             |storage warehouse of, etc.               |
+
+Such a lead would not be too complicated for practical purposes. But
+suppose that around the corner from the cold storage warehouse is a
+livery in which fifty horses are stabled. The flames frighten the horses
+and they break loose and stampede in the streets. The story now has
+three features of striking interest. It would be possible to combine
+them all in the lead and to begin in this way:
+
+             |  Four firemen were overcome by ammonia  |
+             |fumes, a panic was narrowly averted in   |
+             |the St. Charles Hospital, and fifty      |
+             |frightened horses stampeded in the       |
+             |streets as a result of a fire, etc.      |
+
+But see how far from the beginning the fire, the actual cause of it all,
+is placed. The fire is buried behind a mass of details and the reader is
+confused. The lead is not a happy one. The only thing to do is to break
+up the mass of details and put part of them immediately after the lead.
+The arrangement is a matter that must be left to the judgment of the
+reporter.
+
+This, however, is an extreme case because the various features are so
+disconnected and separate. The reporter would have little trouble if the
+several features were more alike. For instance, if one of the walls of
+the building had fallen and killed three firemen the case would have
+been simpler. The death of these men so far overshadows the other
+unusual incidents that it drives them out of the lead altogether. For we
+do not care about horses and frightened patients when men are crushed
+beneath falling walls. All that we are concerned with in our lead now is
+the dead and injured--with a feature like this we can trust our readers
+to go into the story far enough to pick up the other interesting
+features; we would begin in this way:
+
+             |  Three firemen were killed by falling   |
+             |walls and four others were overcome by   |
+             |ammonia fumes in a fire which destroyed  |
+             |the cold storage, etc.                   |
+
+The combination of dead and injured makes a good beginning, and it is
+always advisable to begin with such an enumeration whenever it is
+possible. Where the features are not so significant as death and
+injuries the matter of arranging more than one striking detail at the
+beginning of the lead becomes a greater problem. It must be left to
+one's own judgment and common sense. The lead must not be too long or
+complicated, and one must hesitate before burying the really important
+facts of the story behind several lines of more or less unusual details.
+Just as soon as the lead becomes at all confusing take out the details
+and put them into the story later.
+
+
+
+
+VII
+
+FAULTS IN NEWS STORIES
+
+
+Before we go on to the consideration of other kinds of news stories it
+will be well to consider in greater detail the facts we have learned
+from writing up fires. Our fire stories should have taught us a number
+of things about the form of the news story. Let us sum them up.
+
+=Paragraph Length.=--We have seen that newspaper writing has a
+characteristic style of its own. In the first place notice the length of
+a newspaper paragraph. Count the number of words in an average paragraph
+and compare it with the number of words in a literary paragraph. We find
+that the newspaper paragraph is much shorter. There is a reason for
+this. Imagine a 150-word literary paragraph set up in a newspaper. There
+are about seven words to the line in a newspaper column and one hundred
+and fifty words would make something over twenty lines. Try to picture a
+newspaper made up of twenty-line paragraphs; it would be extremely
+difficult to read. We glance over a newspaper hastily and our haste
+requires many breaks to help us in gathering the facts. Hence the
+paragraphs must be short; the very narrowness of the newspaper column
+causes them to be shortened. The average lead, you will find, contains
+less than fifty words and the paragraphs following it are not much
+longer.
+
+=Sentence Length.=--Notice sentence lengths as compared with literary
+sentences. You will find that newspaper sentences usually fall into two
+classes: the sentences in the lead and the sentences in the body of the
+story. The first sentence is usually rather long--thirty to sixty words.
+But the sentences in the body of the story are much shorter than most
+literary sentences. Why is this? It results from exactly the same thing
+that makes the newspaper paragraphs short--the need of many breaks.
+Thus, after we finish a lead, we must fall into short sentences. They
+need not be choppy sentences, but they must be simple and easy to read.
+
+
+THE LEAD AND THE BODY OF THE STORY
+
+Our study of the fire story has shown that newspaper stories always have
+two separate and distinct parts: the lead and the body of the story. In
+writing the story a reporter must consider each part separately,
+although the reader does not distinguish between the two parts. Before
+writing a word the reporter must decide exactly what facts and details
+he is to put in the lead and exactly what fact he is going to play up in
+the first line, taking care to begin with the most interesting part of
+the story. After the lead is finished he writes the main body of the
+story in accordance with the rules of ordinary English composition. Each
+part must be separate and independent of the other.
+
+=The Lead.=--The lead itself is always paragraphed separately. Usually
+it consists of a single sentence, although it is much better to break it
+into two than to make the sentence too long and complicated. As we have
+said before, the lead must not only tell the most interesting fact or
+incident in the story, but it must answer the natural questions that the
+reader immediately asks about this matter; i.e., when, where, what, why,
+who, and how. These questions must be answered briefly and concisely in
+their order of importance, and the most unusual answer or the most
+striking part of the story must precede all the rest. Beyond the answers
+to these questions there is no space for details in the lead. Every word
+must have a purpose and a necessary purpose or it must be cut out and
+relegated to the body of the story. No space should be given to
+explanations of minor importance. State the content of the news story
+as completely, accurately, and concisely as possible so that the reader
+may know just what happened, when it happened, where, to whom, and
+perhaps how and why it happened. Then begin a new paragraph and start
+the body of the story.
+
+Many editors require that the lead consist of one long sentence and yet
+it must be grammatical. Many reporters forget all about English grammar
+in their attempt to crowd everything they know into one sentence. But
+mere quantity does not make the lead good; it must be grammatical and
+easy to read. The verb must have a grammatical subject and, if it is an
+_active_ verb, it must have a grammatical predicate. Clauses and
+modifiers must be attached in a way that cannot be overlooked. Dangling
+participles and absolute constructions should be shunned. All of the
+modifying clauses must be gathered together either before or after the
+principal clause. Everything must be compact and logical. Many papers
+disregard this matter, as will be seen in some of the extracts quoted in
+this book, but the best papers do not.
+
+Every lead should be so constructed that it may stand alone and be
+self-sufficient. Never should a reporter trust to headlines to enlighten
+his readers upon the meaning of the lead--the exact reverse of this
+must be true. The story is written first and the headlines are written
+from the facts contained in the lead--and usually by another man. In
+writing the lead disregard the existence of headlines, for many readers
+do not read them at all. This is but an amplification of the old rule of
+composition that any piece of writing should be independent of its
+title. The title may be lost, but the essay must be clear without it.
+
+There are many ways of beginning a lead in order to embody the feature
+in the first line. At first glance the operation of putting the emphasis
+of a sentence at the beginning, rather than at the end, may seem
+difficult, but with a clear idea of the rules of dependence in English
+grammar a reporter may transpose any clause to the beginning and thus
+play up the content of the clause. For instance, in this lead,
+
+             |  Fire, starting in a moving picture     |
+             |theatre, 4418 Third avenue, drove the    |
+             |tenants of the building out into the icy |
+             |street while the snowstorm was at its    |
+             |height shortly before 12 o'clock last    |
+             |night.                                   |
+
+the striking feature of the story is buried--we do not get the unusual
+picture of a little group of people shivering in the street during a
+blinding snowstorm while they watch their homes burn. A simple
+transposition of the _while_-clause puts the feature in the first line.
+Thus:
+
+             |  While the snowstorm was at its height  |
+             |shortly before 12 o'clock last night,    |
+             |fire, starting in a moving picture       |
+             |theatre, 4418 Third avenue, drove the    |
+             |tenants of the building out into the icy |
+             |street.                                  |
+
+The lead is not perfect now; it might be greatly improved, but it is
+better than before.
+
+A few of the possible beginnings for a lead are:
+
+1. _Noun._--The simplest beginning of a lead is of course the use of a
+noun as subject of the principal verb. For example, "Fire destroyed the
+residence of----" or "A flashlight setting fire to a lace curtain
+started a fire----" or "The Plaza Hotel had a few uncomfortable moments
+last night----" etc. The subject of the verb may of course have its
+modifiers--adjectives and phrases--but it should not be separated too
+widely from its verb. One point is to be noted in the use of a simple
+noun at the beginning; an article should not precede the noun if it can
+be avoided, for the very simple reason that an article is not worth the
+important space that it takes at the beginning of the lead. In the case
+of fire no article is necessary. In other cases it is usually possible
+to put in an adjective or some other word that will take the article's
+place. However, never begin a story like this: "Supreme Court of the
+United States decided----" or "Young man in evening dress was arrested
+last night----" or "House of John Smith was destroyed yesterday----".
+Obviously something is lacking and, if no other word will supply the
+lack, use the article, _the_ or _a_. When the _noun_-beginning is used
+the reporter must never forget that two or more nouns, however
+different, if subject of the same verb, require a plural verb. The verb
+may be active or passive, whichever is more convenient, but rarely is
+the object of an active verb put first--simply because English cannot
+bear this transposition of subject and predicate.
+
+2. _Infinitive._--Other parts of speech aside from nouns may be subjects
+of verbs and so other parts of speech as subjects of the principal verb
+of the lead may be placed at the beginning of the lead. An infinitive
+with its object and modifier may occupy the first line as subject of the
+main verb; e.g.:
+
+             |  To rescue his own son during the       |
+             |burning of his own house was a part of   |
+             |yesterday's work for Fireman Michael     |
+             |Casey, who, etc.                         |
+
+Here the infinitive "to rescue" and its object are the subject of the
+verb "was," and the construction is perfectly grammatical.
+Unfortunately the English language has another infinitive which very
+much resembles a present participle--the infinitive ending in _-ing_;
+e.g., _rescuing_. Without an article this part of speech must, of
+course, be used only as an adjective, but with an article it becomes an
+infinitive, to be treated as a noun; e.g., _the rescuing of_. It would
+be perfectly grammatical to begin the above lead in this way: "The
+rescuing of his own son ... was the work, etc." But it would be
+ungrammatical to begin it thus: "Rescuing his own son was the work,
+etc." For in the second case the word "rescuing," if used with an
+object, is not an infinitive but a participle, and must be used only as
+an adjective, thus: "Rescuing his own son, Fireman Casey performed his
+duty, etc.," or "In rescuing his own son, Fireman Casey performed his
+duty." The two uses should never be confused.
+
+3. _Clause._--Another expression that may be used as subject of the
+lead's principal verb is a clause--usually a _that_-clause. For
+instance, "That the entire wholesale district was not destroyed by fire
+last night is due to, etc." Here the _that_-clause is subject of the
+verb is and the expression is entirely grammatical as well as very
+useful as a beginning.
+
+4. _Prepositional Phrase._--When the feature of a story is an action
+rather than a thing, a noun can hardly be used to express it. Very
+often this lead may be handled by means of a prepositional phrase at the
+beginning. For example, one of the stories in the last chapter begins:
+"With her home on fire and with smoke swirling around her head, Mrs.
+John, etc." In this case the prepositional phrase modifies the subject
+and should not be far from it. Another variation of this is the
+prepositional phrase of time, modifying the verb; e.g., "During the
+wedding of Miss Mary Jones, last night, the house suddenly caught fire,
+etc." This beginning is effective if it is not overworked, but the
+reader should never be held back from the real facts of the story by a
+string of complicated phrases, intended to build up suspense.
+
+5. _Participial Phrase._--Very much like the prepositional phrase
+beginning is the participial beginning. "Sliding down an eighty-foot
+extension ladder with a woman in his arms, Fireman John Casey rescued,
+etc." It must be borne in mind that the participial phrase must modify a
+noun and there should be no doubt in the reader's mind as to the noun
+that it modifies. It would of course be absurd to say "Sliding down an
+eighty-foot extension ladder, fire seriously burned John Casey----," but
+such things are often said. Never should this participial phrase be used
+as the subject of a verb, as "Returning home and finding her house in
+ashes was the unusual experience of Mrs. James, etc." The phrase must
+always modify a noun just like an adjective.
+
+6. _Temporal Clause._--A feature may often be brought to the beginning
+of the lead by a simple transposition of clauses. Should the time be
+important a subordinate _when_ or _while_ clause may precede the
+principal clause of the sentence; i.e., "When the snowstorm was at its
+height early this morning, a three-story brick building burned, etc.,"
+or "While 15,000 people watched from the street below, 250 girls escaped
+from the burning building at, etc."
+
+7. _Causal Clause._--Should the cause of an action or an occurrence be
+attractive enough for the first line, a _for_ or a _because_ clause may
+begin the lead. "Because a tinsmith upset a pot of molten solder on the
+roof of pier No. 19, two steamers were burned, etc."
+
+                  *       *       *       *       *
+
+This does not exhaust the list of possible beginnings. There are a dozen
+possible constructions for the beginning of any story; these are merely
+the commonest ones. Anything unusual or of doubtful grammar should be
+avoided because of the many possible alternatives that present
+themselves. And in every lead correct grammar should be considered
+above all else. If a lead is ungrammatical no clever arrangement of
+details can make it effective or other than ludicrous. For instance,
+this lead, taken from a newspaper, illustrates an unfortunate attempt to
+crowd too many details into a short lead:
+
+             |  Bitten by a rattlesnake, Myrtle Olson's|
+             |leg was slashed with a table knife,      |
+             |washed the wound with kerosene, then     |
+             |covered the incision with salt by her    |
+             |mother. Myrtle still lives.              |
+
+Another paper tried to arrange it more happily, thus:
+
+             |  Bitten by a rattlesnake, Myrtle Olson's|
+             |mother slashed her daughter's leg with a |
+             |table knife, washed the wound with       |
+             |kerosene, then covered the incision with |
+             |salt. Myrtle still lives.                |
+
+There is evidently something wrong in this. It would be a good exercise
+to try to express the idea grammatically.
+
+                  *       *       *       *       *
+
+Before we go on to the consideration of the body of this story a few
+_Don'ts_ in regard to writing leads may be in order.
+
+Don't begin a lead with a person's name unless the person is well known.
+We are always interested in anything unusual that a man may do or
+anything unusual that he may suffer, but unless we know the man we are
+not at all interested in his name. Suppose that a man performs some
+thrilling act or suffers some unusual misfortune in a city of 100,000
+people. Probably not more than one hundred people know him, and of that
+number only one or two will read the story. Then why begin with his name
+when his action is of greater interest to all but a few of our readers?
+And yet every reader wants to know whether the victim is one of his
+friends. Therefore the man's name must be mentioned in the lead,
+although it should not come at the beginning. On the other hand, if the
+man is prominent in the nation or the community and well known to all
+our readers, his name adds interest to the story and we begin with the
+name. There is a growing tendency among American newspapers to begin all
+of their stories with a name. The tendency appears to be the result of
+an attempt to break away from the conventional lead and to begin in a
+more natural way--also an easier way. But the name beginning is after
+all illogical, and any reporter is safe in following the logical course
+in the matter. If the name is not important begin with something that is
+important.
+
+Don't waste the main verb of the sentence on a minor action while
+expressing the principal action in a subordinate clause. This is a
+violation of emphasis. For example, "Fatally burned by an explosion in
+his laundry, Hing Lee was taken to the hospital." Naturally he would be
+taken to the hospital, but why put the emphasis of the whole sentence on
+that point?
+
+Don't resort to the expression "was the unusual experience of----" "was
+the fate of----" or any like them. Every word in the lead must count,
+and here are five words that say nothing at all. Use their place to tell
+what the unusual experience was. For instance, don't say "To stand in a
+driving snowstorm and watch their homes burn to the ground was the
+unusual experience of two families, living at, etc."; say instead,
+"Standing in a driving snowstorm two families watched their homes burn
+to the ground." The latter says the same thing more effectively in less
+space. The use of this expression--"was the unusual experience of"--is
+always the mark of a green reporter.
+
+Don't overwork the expression "Fire broke out." All fires "break out,"
+but usually we are more interested in the result of the fire than in its
+"breaking out." Try to use some expression that will give more definite
+information.
+
+Don't be wordy. Editors are always calling for shorter and more concise
+leads. If you can say a thing in two words don't use half a dozen. For
+example, "Four members of the local fire department were rendered
+unconscious by the deadly fumes from bursting ammonia pipes." This takes
+three times as much space as "Four firemen were overcome by ammonia
+fumes," and it does not express the idea any more effectively.
+
+Don't introduce minor details into the lead. If the reader wants the
+details he may read the rest of the story. Take the following lead as an
+example:
+
+             |  Rushing back into his burning laundry, |
+             |a one-story brick building, to rescue    |
+             |from the flames his savings, amounting to|
+             |$437, with which he hoped to raise       |
+             |himself from the rank of laborer to that |
+             |of a prosperous merchant, and which was  |
+             |hidden under the mattress of his bed in  |
+             |the back room of the laundry, Hing Lee, a|
+             |Chinaman, who lives at 79 Nicollett      |
+             |avenue and has been in this country but  |
+             |three months, was overcome by smoke and  |
+             |so seriously burned that he had to be    |
+             |removed to the St. Mary Hospital and may |
+             |not live, when his establishment was     |
+             |destroyed by a fire which, starting from |
+             |the explosion of the tank of the gasolene|
+             |stove on which he was cooking his dinner,|
+             |gutted his laundry, entailing a loss of  |
+             |$1,000, shortly before noon to-day.      |
+
+It is entirely grammatical, but if the reader succeeds in wading through
+it there is nothing left to tell about the fire. Why not begin the
+story in this way and leave something for the rest of the story?
+
+             |  Because he rushed back into his burning|
+             |laundry to rescue his savings, Hing Lee, |
+             |a Chinese laundryman, 79 Nicollett       |
+             |avenue, was seriously burned to-day.     |
+
+Don't waste the first line of the lead on meaningless generalities. Get
+down to the facts at once. For instance, "The presence of mind and
+bravery of Fireman David Mullen saved Mrs. Daniel Looker from being
+burned to death in her flat, etc." We are willing to grant his bravery
+and presence of mind, but we want to know at once what he did: "By
+sliding down an eighty-foot extension ladder through flames and smoke
+with an unconscious woman in his arms, Fireman David Mullen rescued Mrs.
+Daniel, etc." Equally useless is the beginning, "A daring rescue of an
+unconscious woman from the fourth story of a blazing flat building was
+made by Fireman David Mullen to-day, etc." Tell what the daring rescue
+was and let the reader manufacture a fitting eulogy.
+
+Don't exaggerate the facts to make a feature. When a few persons are
+frightened don't turn it into a dreadful panic. Every little fire is not
+a holocaust and the burning of a small barn does not endanger the
+entire city, unless your imagination is strong enough to guess what
+might have happened had there been a high wind and no fire engines. A
+narrow escape from death does not always excuse the beginning, "Scores
+killed and injured would have been the result, _if_----" All beginnings
+of this kind give a false impression and do not tell the truth. If a
+story has no striking feature be satisfied to tell the truth about it
+without trying to make a world-wide disaster out of it for the sake of a
+place on the front page. Exaggeration for a feature is one of the bad
+elements of sensational journalism. For example, seven lives were lost
+in this fire, but this is the way the story was written, for the sake of
+a three-column scare-head:
+
+             |  That 500 sleeping babes and 100 more   |
+             |who were kneeling in prayer in St.       |
+             |Malachi's Home, a Roman Catholic         |
+             |institution for the care of orphans at   |
+             |Rockaway Park, are alive to-day is due to|
+             |the coolness of the nuns in charge and   |
+             |the children's remembrance of their      |
+             |teacher's fire drills.                   |
+
+The suspense is built up in such a way that at the end of the lead we do
+not know what happened and read on with breathless interest to find that
+there was a small fire at the Home and seven children were burned.
+
+
+=The Body of the Story.=--"A good beginning is half done," according to
+the proverb. In writing a news story a good beginning is more than half
+done--two-thirds at least. The lead is the beginning, and when that has
+been written we are ready to go on to the body of the story with a clear
+conscience.
+
+Our lead has told the reader the main facts of the case and the most
+unusual feature. If he reads further he is looking for details. In
+giving him these we return to the ordinary rules of narration. We start
+at the very beginning of the story and tell it logically and in detail
+to the end. We tell it as if no lead preceded it and repeat in greater
+detail the incidents briefly outlined in the lead. Never should the body
+of the story depend upon the lead for clearness. If the feature of the
+story is a rescue and you have briefly described the rescue in the lead,
+ignore the lead and describe the rescue all over again in the body of
+the story in its proper place. The number of details that are to be
+introduced into the story is limited only by the space that the story
+seems to be worth. But no point should be mentioned in the story unless
+space permits of its being made clear.
+
+The ordinary rules of English composition apply to the writing of the
+body of the story. The copy must be paragraphed, cut up into paragraphs
+that are rather shorter than ordinary literary paragraphs, since the
+narrowness of the newspaper column makes the paragraph seem longer.
+Heterogeneous details must not be piled together in the same paragraph,
+but the facts must be grouped and handled logically. No paragraph should
+be noticeably longer than the others, and it is decidedly bad to
+paragraph one sentence alone simply because it does not seem to go in
+with any other sentence. If the fact is important expand it into a
+paragraph by the introduction of further details; if it is unimportant
+either cut it out of the story altogether or attach it to the paragraph
+to which it seems most logically to belong.
+
+One fact, already stated, must be borne in mind as the body of the story
+progresses. The report should be built up in such a way that the editor
+can slash off a paragraph or two at the end without injuring the
+story--without sacrificing any important facts. To do this the reporter
+should bring the important parts of the story as near the beginning as
+the logical order will permit. The interest of a perfect news story is
+like an inverted cone. The interest is abundant at the beginning and
+gradually dwindles out until there is nothing more to say when the end
+is reached. Just how far the dwindling should be carried depends upon
+the amount of space that the story seems to be worth in the paper.
+
+This may seem difficult. It may be hard to see how a story can be told
+in its logical order while at the same time the most interesting facts
+are placed at the beginning, even if they logically belong near the end.
+For example, we may take the story of an unusual robbery. A well-dressed
+man goes into a grocery store to get some butter and tries to rob the
+grocer. In the ensuing scuffle the would-be robber escapes. A young
+woman who happens to be passing sees the end of the fight and pursues
+the robber down the street until he runs into a saloon. She calls a
+policeman who is standing on the corner and the officer rushes into the
+saloon, up three flights of stairs and finds the robber on the roof
+behind a chimney. The officer shouts to another policeman, and together
+they arrest the robber.
+
+Now, what is the most interesting thing in the story? Probably the
+pursuit--a young woman chasing a robber down the street. Our lead might
+be written in this way:
+
+             |  After being chased down Sixth street by|
+             |a young woman, a robber, who had         |
+             |attempted to rob the grocery store of    |
+             |Charles Young, 1345 Sixth street, was    |
+             |arrested on the roof of a saloon at 835  |
+             |Sixth street, at 7 o'clock last night.   |
+
+The lead might be arranged in a different way, but these are the facts
+that it would contain. Before we consider the arrangement of the body of
+the story it may be well to go back to the interviews by which we
+secured the story. In getting the facts we would probably talk to Young,
+the groceryman, and to the saloonkeeper into whose establishment the
+robber fled. We could probably interview the policeman who made the
+arrest, but let us suppose that the young woman could not be found. The
+groceryman would tell us about the attempted robbery and the escape,
+with the girl in pursuit. The saloonkeeper would tell us how the man
+fled into his saloon and ran up the stairs to the roof; then how two
+policemen came and made the arrest. The policeman could tell us how a
+young woman ran up to him and told him that a robber had fled into the
+saloon; then he would describe the arrest. None of these stories is told
+just as we want the newspaper story--each one tells us only a part of
+the story. If the finished story were written by a green reporter it
+would probably tell the story in the order in which it was obtained.
+That is if the reporter saw the policeman first, then the saloonkeeper,
+and lastly the groceryman; his story would tell in the first paragraph
+what the policeman said, in the second paragraph what the saloonkeeper
+said, and in the last paragraph what the grocer said. At least that is
+the way in which green reporters in the classroom attempted to write
+the story.
+
+But, obviously, that is not the logical way to tell the story. The
+finished account should be written in the order in which it happened:
+i.e., first the robbery, then the pursuit, and lastly the arrest. This
+would be the ideal way to tell the story--according to the rules of
+English composition--if we could be sure that the entire story would be
+printed. But if it were written in this way and the editor decided to
+slash off the last paragraph, what would go? Obviously the arrest would
+not be printed; and the arrest was quite interesting. We must find some
+way to bring the arrest nearer to the beginning. This may be done by
+selecting the most interesting parts of the story--by picking out the
+high spots, as it were. In this story the high spots are the attempted
+robbery, the pursuit, and the arrest. The details that fill in between
+are interesting, but not so interesting as these high spots. Hence these
+high spots of interest must be pushed forward toward the beginning.
+After the lead the story would begin at the beginning and tell the
+affair briefly by high spots in their proper order. It might be
+something like this:
+
+             |  As Charles Young was closing his       |
+             |grocery last evening a young man came in |
+             |and asked for a pound of butter. Young   |
+             |turned to get it and his customer struck |
+             |him over the head with a chair. The      |
+             |grocer grappled with his assailant and   |
+             |they fell through the front door. In the |
+             |scramble, the robber broke away and ran  |
+             |down Sixth street. A young woman who was |
+             |passing screamed and ran after him until |
+             |he disappeared into a saloon.            |
+             |                                         |
+             |The young woman called Policeman Smith,  |
+             |who was standing nearby on Grand avenue, |
+             |and the latter found the would-be robber |
+             |on the roof of the saloon. After a       |
+             |struggle, Smith arrested the man, with   |
+             |the aid of another policeman.            |
+
+The above account tells us briefly the most interesting parts of the
+story. A copyreader might not find it perfect, for the assault is
+allotted too much space and the pursuit too little, but it tells the
+story in its baldest aspect. This, with the lead, could be run alone.
+However, perhaps the story is worth more space; at any rate, many
+interesting details have been omitted. If so, go back to the most
+interesting part of the story--the assault, perhaps, or the pursuit--and
+tell it with more details. Then retell some other part with more
+details. If your readers are interested enough to read beyond the first
+three paragraphs they want details and will not be so particular about
+the order--for they already know how the story is going to end.
+
+This is one way of meeting the requirements of logical order and
+dwindling interest. This is a particularly hard story to arrange in the
+conventional way since we must have the whole story to be interested in
+any single part--it has too many striking incidents in it. On the other
+hand, a story which contains only one striking incident is much easier
+to handle. Suppose that we are reporting a fire which is interesting
+only for its cause or for a daring rescue in it. Our lead would suggest
+this interesting element and the first part of our story would be
+devoted entirely to the cause or to the rescue, as the case might be.
+But it is better to sketch briefly, immediately after or very close to
+the lead, the entire story, for our readers want to know how it ends
+before they can be interested in any particular part. If we sketch the
+whole story and show them that there is only one important thing in the
+story, they will be satisfied to read about the one striking incident
+without wondering if there is not something more interesting further on.
+If we leave the conclusion of the story to the end of our copy the
+editor may cut it off and leave our story dangling in midair. Every
+story must be treated in its own way, according to its own incidents and
+difficulties; no two stories are alike in substance or treatment. In
+every one our aim must be to keep to the logical order and at the same
+time to put the most interesting parts of the story near the beginning.
+
+The construction of the body of a story may be illustrated more clearly
+by a fatal fire story--since fire stories are more uniform, and hence
+easier to write than other news stories. Let us suppose that the story
+is as follows: At four o'clock in the afternoon a fire started from some
+unknown cause in the basement of a four-story brick building at 383-385
+Sixth Street, occupied by the Incandescent Light Company. Before the
+fire company arrived the flames had spread up through the building and
+into an adjoining three-story brick building at 381 Sixth Street,
+occupied by Isaac Schmidt's second-hand store and home on the first and
+second floors and by Mrs. Sarah Jones's boarding house on the third. The
+Schmidts were away and Mrs. Jones's lodgers escaped via the fire
+escapes. Her cook, Hilda Schultz, was overcome by smoke and had to be
+carried out by Jack Sweeney, a lodger. Mrs. Jones fell from the fire
+escape and was badly bruised. Meanwhile the firemen were at work on the
+roof of the burning four-story building. Blinded by the smoke, one of
+them, John MacBane, stepped through a skylight and fell to the fourth
+floor. His comrades tried to rescue him by lowering Fireman Henry Bond
+into the smoke by the heels; they were unsuccessful and Bond broke his
+arm in the attempt. The fire was confined to the lower floors of the two
+buildings and extinguished. In searching for MacBane, the firemen found
+him suffocated on the fourth floor where he had fallen.
+
+The feature of the story is evidently the one death and the three
+injuries. Our lead might be written as follows:
+
+             |  One fireman was suffocated and three   |
+             |other persons were injured in a fire in  |
+             |the Incandescent Light Company's plant,  |
+             |383-385 Sixth street, and an adjoining   |
+             |three-story building, late yesterday     |
+             |afternoon.                               |
+
+This lead would suggest to the reader many interesting details to come
+in the body of the story, and evidently the details are not all of equal
+importance. The story could be told in its logical order, but, since the
+death is more interesting than the origin of the fire and the injuries
+are more significant than how the fire spread, it is obvious that it
+would not be best to tell the story in the order in which it is told
+above.
+
+Disregarding the lead, we must cover the following details in the body
+of our story:
+
+    Description of buildings and occupants.
+    Origin of fire.
+    Discovery of fire.
+    Spread of flames.
+    Injury of Mrs. Jones.
+    Rescue of Hilda Schultz.
+    Death of MacBane.
+    Injury of Bond.
+    Fire extinguished.
+
+This is the order in which things occurred at the fire. However, in our
+lead, we have drawn attention to our story by announcing that it
+concerns a fire in which a man was killed; the death therefore should
+have first place in the body of the story. Hence, in the second
+paragraph immediately after the lead, we must tell how MacBane fell
+through the skylight and was suffocated. Along with his death we may as
+well tell how Bond broke his arm trying to rescue MacBane. Our lead has
+also announced two other injuries and, hence, they must be included
+next--that is, our third paragraph must be devoted to the injury of Mrs.
+Jones and the rescue of the unconscious Hilda. But as yet our details
+are hanging in the air because we have not said anything about the
+buildings or the fire itself. In the next paragraph it would be well to
+describe the buildings and their occupants and to give a very brief
+account of the course of the fire--perhaps in this way:
+
+             |  Flames were first discovered in the    |
+             |basement of the Incandescent building and|
+             |before the fire department arrived had   |
+             |spread through the lower floors and into |
+             |the adjoining three-story building. The  |
+             |absence of elevator shafts and air-shafts|
+             |enabled the firemen to extinguish the    |
+             |blaze before it reached the upper floors.|
+
+This tells the main course of the fire, but there are some interesting
+details to add: first, the origin of the fire; next, the discovery; then
+more about how the fire spread; and lastly, how the fire was
+extinguished. Our story by paragraphs would read as follows:
+
+    1st Paragraph--The lead.
+
+    2d Paragraph--Death of MacBane and injury of Bond.
+
+    3d Paragraph--Mrs. Jones's injury and Hilda's rescue.
+
+    4th Paragraph--Buildings, occupants, brief course of fire.
+
+    5th Paragraph--Detailed account of origin of the fire.
+
+    6th Paragraph--How the fire was discovered.
+
+    7th Paragraph--More about the spread and course of the fire.
+
+    8th Paragraph--How the fire was extinguished.
+
+    9th Paragraph--Loss, insurance, extent of damage.
+
+Thus, while telling the story almost in its logical order, we have
+picked out the high spots of interest and crowded them to the beginning.
+Our readers will get the facts just about as fast as they wish to read
+them and in the order in which they wish them. Our story may be run in
+nine paragraphs or even more; or the editor may slash off anything after
+the fourth paragraph without taking away any of the essential facts of
+the fire. This method of telling would fulfill all the requirements of
+an ideal news story. A similar outline of the facts that any story must
+present will often help a reporter to tell his story as it should be
+told. After listing the details he may number them in their order of
+importance and check them off as he has told them.
+
+                  *       *       *       *       *
+
+This idea of throwing the emphasis and interest to the beginning applies
+to the individual paragraphs and sentences of the story, as well. Each
+paragraph must begin strongly and display its most interesting content
+in the first line. The emphatic part of each sentence should be the
+beginning. A glance at any newspaper column shows why this is necessary.
+
+The body of a news story is the place for the reporter's skill and
+style. He is given all the liberties of ordinary narration and should
+make the most of every word. His individual style comes into play here.
+If the interest can be increased by a bit of dialogue the reporter may
+put it in. If the facts can be presented more effectively by means of
+direct quotation, the words of any one whom the reporter has interviewed
+may be of interest. However, these things must not be overworked because
+every trick of writing loses its effectiveness when it is overworked.
+
+Dialogue used only to give facts which might be told more clearly in
+simple direct form should seldom be used. Dialogue in a news story is
+used only to color the story and not to reproduce the interviews by
+which the facts were obtained. In gathering the facts of a story it is
+sometimes necessary to interview a number of people, but these
+interviews should not be quoted in the resulting story. Many a green
+reporter tries to give his story character by telling what the policeman
+on the corner, the janitor, and a small boy in the street told him about
+the incident. He succeeds only in dragging out the length of his story
+and confusing the reader. After all, the purpose of a newspaper is to
+give facts--and the clearer and the more direct the method the better
+will be the result.
+
+In striving for clearness and interest a reporter must remember that one
+of his greatest assets is concreteness of expression. Of all forms of
+composition newspaper writing possesses probably the greatest
+opportunity for definiteness. Facts and events are its one concern;
+theories and abstractions are beyond its range. Hence the more definite
+and concrete its presentation of facts, the better will be its effect.
+The reporter should never generalize or present his statements hazily
+and uncertainly--a fact is a fact and must be presented as such. He must
+try to avoid such expressions as "several," "many," "a few"--it is
+usually possible to give the exact number. He must continually ask
+himself "how many?" "what kind?" "exactly when?" "exactly what?"
+Expressions like "about a dozen," "about thirty years old," "about a
+week ago," "about a block away," are never so effective as the exact
+facts and figures. Definite concrete details make a news story real and
+vivid. The real reporter of news is the one who can see a thing clearly
+and with every detail and present it as clearly and distinctly.
+
+
+
+
+VIII
+
+OTHER NEWS STORIES
+
+
+The fire story is obviously not the only news story that is printed in a
+daily newspaper, but a study of its form gives us a working knowledge of
+the writing of other news stories. The fire story is probably the
+commonest news story, and it is by far the easiest story to handle, for
+its form has become somewhat standardized. We know just exactly what our
+readers want to know about each fire, and within certain limits all
+fires, as well as the reports of them, are very much alike. There is
+seldom more than one fact or incident that makes one fire different from
+another and that fact we always seize as the feature of our report.
+However, the fire story has been taken only as typical of other news
+stories. Now we are ready to study the others, using the fire story as
+our model in writing the others.
+
+There is a vast number of other stories that we must be able to write,
+and they lack the convenient uniformity that fires have. Not only does
+every story have a different feature, but it is concerned with a
+different kind of happening. One assignment may call for the report of
+an explosion, another the report of a business transaction, and another
+a murder. In each one we have to get the facts and choose the most
+striking fact as our feature. Never can we resort to the simple
+beginning "Fire destroyed," but we must find a different beginning for
+each assignment.
+
+Just as in the fire story, the lead of any news story is the most
+important part. It must begin with the most striking part of the event
+and answer the reader's _Where?_ _When?_ _How?_ _Why?_ and _Who?_
+concerning it. All the rules that apply to the fire lead apply to the
+lead of any story.
+
+It would be impossible to classify all the news stories that a newspaper
+must print. The very zest of reporting comes from the changing variety
+of the work; no two assignments are ever exactly alike--if they were
+only one would be worth printing. Newspapers themselves make no attempt
+to classify the ordinary run of news or to work out a systematic
+division of labor; a reporter may be called upon to cover a fire, a
+political meeting, a murder, a business story, all in the same day. Each
+one is simply a story and must be covered in the same way that all the
+rest are covered--by many interviews for facts. For our study it may be
+well to divide news stories into a few large groups. The groups overlap
+and are not entirely distinct, but the stories in each group have some
+one thing in common that may aid us in learning how to write them. At
+most, the list is only a very incomplete summary of the more important
+kinds of news stories and is intended to be merely a suggestive way of
+supplying the student with necessary practice.
+
+
+=1. Accidents.=--Accident stories may be anything from a sprained ankle
+to a disastrous railroad wreck, but they all depend upon one element for
+their interest. They are all printed because people in general are
+interested in the injuries and deaths of other people--physical calamity
+is the common ground in all these stories.
+
+The number of possible accidents is infinite, but there are some common
+types that recur most often. Among these are: railroad, trolley,
+railroad crossing accidents; runaways; electrocutions; explosions;
+collapse of buildings; marine disasters; cave-in accidents; elevator,
+automobile, aviation accidents.
+
+The feature of any accident story is always, of course, the thing that
+made the story worth printing, and that is usually the human life
+element. The feature of an accident story is almost always the number of
+dead and injured. Most reports of railroad wrecks begin with "Ten
+persons were killed and seventeen were injured in a wreck, etc." The
+same is true of any accident story; if more than one person is killed it
+is usually safe to begin with the number of fatalities. In this
+connection it may be noted that the death of railroad employees seldom
+makes a story worth printing; they may be included in the total number,
+but if no passengers are killed, fatalities among trainmen seldom give a
+story any news value.
+
+Accident stories of course have many other possible features; newspapers
+report many accidents in which no one is killed. In that case some other
+element gives the story news value and that element must be played up as
+the feature. Perhaps it is the manner in which the accident happened or
+the manner in which a person was killed or injured, as in an automobile
+accident. The cause of the accident may be the most interesting part of
+the story: train-wreckers or a broken rail in a railroad wreck, or the
+cause of an explosion. Very often an accident is reported simply because
+some well-known person was connected with it in some way; the name then
+becomes the feature and comes into the first line. A story may be worth
+printing simply because of the unusual manner of rescue; such a feature
+is often played up in stories of marine accidents, cave-ins, etc. Not
+infrequently some of the unusual attendant circumstances give a story
+news value: e.g., a policeman dragged from his horse and run over by an
+automobile while he is trying to stop a runaway.
+
+Here are some accident stories from the newspapers:
+
+Fatalities:
+
+             |  Six men were killed and a dozen        |
+             |seriously injured early to-day by an     |
+             |outbound Panhandle passenger train       |
+             |crashing into the rear end of a Chicago, |
+             |Milwaukee and St. Paul stock train at    |
+             |Twelfth and Rockwell streets.--_Chicago  |
+             |Record-Herald._                          |
+
+Manner:
+
+             |  Run down by her own automobile, which  |
+             |she was cranking, at First and G streets,|
+             |northwest, Dr. Alma C. Arnold, a         |
+             |chiropractic physician, 825 Fifteenth    |
+             |street, northwest, was forced against the|
+             |wheel of a passing wagon and seriously   |
+             |injured this morning.--_Washington       |
+             |Times._                                  |
+
+Cause:
+
+             |  Over-balanced by a granite stone       |
+             |weighing four tons, the entire cornice   |
+             |over the west portico of the new west    |
+             |wing of the capitol fell to the ground   |
+             |this afternoon, carrying with it Daniel  |
+             |Logan, foreman for the Woodbury Granite  |
+             |Company.--_Madison Democrat._            |
+
+Attendant Circumstances:
+
+             |  With a blast that shook the entire city|
+             |and was believed by many to be an        |
+             |earthquake, three boilers in the new     |
+             |engine house of the Pabst brewery on     |
+             |Tenth street, between Chestnut street and|
+             |Cold Spring avenue, exploded at about 4  |
+             |o'clock this morning.--_Milwaukee Free   |
+             |Press._                                  |
+
+
+=2. Robberies.=--Another large class of news stories is concerned with
+robberies of various kinds. Unfortunately for the reporter, very few
+robberies are alike; beyond the common ground of the interest in the
+amount stolen and the cleverness of the robber's work, there is seldom
+any one thing that may be looked for as the feature of a robbery story.
+The reporter must decide what in the story makes it worth printing.
+
+Robbery stories may include anything from petty thievery to bank
+defaulting. Some of the possibilities are horse and automobile stealing,
+burglary, hold-ups, train and street-car robbery, embezzlement, fraud,
+kidnapping, safe-cracking, shop and bank robbery. It is well for the
+reporter who has to cover a story of this class to acquaint himself with
+the distinctions that characterize the various kinds of robbery and the
+various names applied to the people who commit this sort of crime: e.g.,
+robber, thief, bandit, burglar, hold-up man, thug, embezzler, defaulter,
+safe-cracker, pick-pocket.
+
+In general the chief interest in robbery stories is in the result of
+the work--the amount taken--usually accompanied by a term to designate
+the sort of robbery. Just how the crime was committed is often the
+feature, as in a train robbery or a clever case of fraud. If the victim
+or victims are at all well known their names may become the most
+interesting thing in the story--or even the name of a well-known
+criminal or band of robbers. In some stories, especially if another
+paper has already covered the story, the pursuit or capture of the
+criminals is often interesting; the stories of bank robberies often
+begin in this way. Other attendant circumstances, such as the number of
+persons who witnessed the crime, may be the feature. In hold-ups,
+burglaries, and crimes of that sort, the death or wounding of the victim
+is often played up. Sometimes the reason for the crime, as in a
+kidnapping case, is of great significance. In the case of a robbery of a
+bank or any other institution which depends upon credit for its
+business, the story usually begins with, or at least mentions near the
+beginning, the present condition of the robbed institution. It is safe
+to say that in no case is the name of the criminal, the manner of his
+arrest (if it is not unusual), the police station to which he was taken,
+or the charge preferred against him worth a place in the lead.
+
+Some robbery stories from the daily press:
+
+Amount taken:
+
+             |  Furs worth $40,000 were stolen in the  |
+             |early hours of yesterday morning within a|
+             |stone's throw of Madison Square.         |
+             |Apparently a gang in which there was a   |
+             |woman expert in choosing only the best   |
+             |furs carried off the costly skins,       |
+             |etc.--_New York World._                  |
+
+Manner of hold-up:
+
+             |  Seized by thugs in broad daylight as he|
+             |was crossing the railroad tracks at the  |
+             |foot of First avenue east, Fred Butzer, a|
+             |stonemason of Butler, Minn., was thrown  |
+             |to the ground, a gag placed in his mouth,|
+             |his pockets were rifled of $36.--_Duluth |
+             |News-Tribune._                           |
+
+Unusual sort of pickpocket:
+
+             |  A young man in evening dress, who was  |
+             |going down into the subway station at    |
+             |Times Square with the theater crowd that |
+             |filled the entrance just outside of the  |
+             |Hotel Knickerbocker early last night,    |
+             |paused, knocked a woman under the chin   |
+             |and took away her silver chatelaine purse|
+             |containing $20 as deftly as he might have|
+             |flicked the ash off his cigarette. Then  |
+             |he disappeared.--_New York Times._       |
+
+Unusual thieves:
+
+             |  Two girl thieves not more than twelve  |
+             |years old and small in stature for their |
+             |age have been operating with great       |
+             |success in the different stores in the   |
+             |neighborhood of Amsterdam avenue and     |
+             |Seventy-ninth street. Five or six thefts,|
+             |etc.--_New York Telegram._               |
+
+Pursuit and capture:
+
+             |  After a chase along Forty-second street|
+             |and up the steps of the Hotel Manhattan, |
+             |a woman, who said she was Sadie Brown,   |
+             |thirty-three years old, of No. 215 West  |
+             |Forty-sixth street, was arrested early   |
+             |today on suspicion of having picked the  |
+             |pocket of a man at, etc.--_New York      |
+             |Telegram._                               |
+
+Present conditions of robbed bank (second paragraph of an embezzlement
+story):
+
+             |  Banking Commissioner Watkins this      |
+             |afternoon declared that he found the bank|
+             |perfectly sound, that all commercial     |
+             |paper was found intact, that none of the |
+             |accounts have been juggled and that no   |
+             |erasures of any kind were                |
+             |discovered.--_Philadelphia Inquirer._    |
+
+Unusual sort of burglar:
+
+             |  Wearing a Salvation Army uniform, a    |
+             |burglar was caught early yesterday in the|
+             |home of Walter Katte, a vice-president of|
+             |the New York Central railroad, at        |
+             |Irvington-on-the-Hudson.--_New York      |
+             |World._                                  |
+
+
+=3. Murder.=--The reports of crimes of this sort can hardly be
+classified, for there are so many things that may be worth featuring in
+any murder case. The story itself is usually of such importance that the
+mere fact that a murder has been committed gives it news value even if
+there is nothing unusual in the crime--just as in the case of a
+featureless fire story that begins with "Fire." The handling of a crime
+depends upon the character and circumstances; the reporter must weigh
+the facts in each case for himself. However, we usually find a feature
+in the number of persons murdered, the manner in which the crime was
+committed, the name of the victim, if he or she is well known, the
+reason for the deed, or in some of the many attendant circumstances,
+such as arrest, pursuit, etc. One rule must always be followed in the
+reporting of a murder story: the reporter must confine himself to the
+necessary facts and omit as many of the gruesome details as possible. He
+must tell it in a cold, hard-hearted way without elaboration, for the
+story in itself is gruesome enough. Just as soon as a murder story
+begins to expand upon shocking details it becomes the worst sort of a
+yellow story.
+
+Examples of murder stories from the newspapers:
+
+Manner:
+
+             |  After crushing in the head of his      |
+             |superior officer with an axe, James      |
+             |Layton, boatswain of the Liverpool       |
+             |sailing ship Colony, refused to submit to|
+             |arrest, and, still waving the bloody     |
+             |weapon, committed suicide by jumping into|
+             |the sea.--_New York Mail._               |
+
+Motive:
+
+             |  In revenge for a beating he received   |
+             |the day before, Gaetona Ambrifi yesterday|
+             |shot and instantly killed Frank          |
+             |Ricciliano, a sub-section foreman on the |
+             |Pennsylvania Railroad, while they were   |
+             |working on the roadbed near Peddle       |
+             |street, Newark.--_New York Sun._         |
+
+Prominent name:
+
+             |  Mayor William J. Gaynor of New York    |
+             |City was shot and seriously, perhaps     |
+             |fatally, wounded on board the steamer    |
+             |Kaiser Wilhelm der Grosse at 9:30 as he  |
+             |was sailing for Europe.                  |
+
+Resulting pursuit:
+
+             |  The police of Brooklyn have another    |
+             |murder mystery to unravel through the    |
+             |finding early today of the body of Peter |
+             |Barilla on Lincoln road, near Nostrand   |
+             |avenue, Flatbush. There were two bullet  |
+             |wounds in the body and four stab wounds  |
+             |in the back.--_Brooklyn Eagle._          |
+
+Attendant circumstances:
+
+             |  A hundred or more persons who were     |
+             |about to take trains witnessed the       |
+             |shooting to death of a Jersey City       |
+             |business man in the Pennsylvania Railroad|
+             |station there this afternoon.--_New York |
+             |Mail._                                   |
+
+
+=4. Suicide.=--What is true of murder stories is also true of suicide.
+Each individual case has an unusual feature of its own. We ordinarily
+find a good beginning in the manner of the suicide, the name of the
+person who has killed himself if he is well known, the reason for the
+act, or some one of the attendant circumstances--often the manner of
+resuscitation if the crime is unsuccessful. For some unexplained reason
+many papers do not print accounts of ordinary suicides, except when the
+individual is prominent. At any rate the story must be told without
+gruesome details and as briefly as possible.
+
+Examples from the press:
+
+Name:
+
+             |  William L. Murray of Rockview avenue,  |
+             |North Plainfield, paying teller of the   |
+             |Empire Trust Company of New York,        |
+             |committed suicide at Scotch Plains early |
+             |this afternoon by shooting himself in the|
+             |head. No reason is assigned for the      |
+             |act.--_New York Sun._                    |
+
+Motive:
+
+             |  Driven insane by continued brooding    |
+             |over ill health, Miss Ada Emerson, a     |
+             |former teacher in the Beloit city        |
+             |schools, killed herself in a crowded     |
+             |interurban car Saturday afternoon by     |
+             |slashing her throat with a               |
+             |razor.--_Beloit Free Press._             |
+
+Here the manner is the feature, but it is not played up in the first
+line because it is too horrible.
+
+
+=5. Big Stories.=--The big stories of catastrophes are usually handled
+on a large scale--played up, as the newspaper men say. The story in
+itself is of sufficient importance to make it unnecessary to play up any
+single feature of the story. However, the reporter, in looking for a
+good beginning, often finds it in the most startling fact in the story.
+If he is reporting a riot he usually begins with the number of killed
+or injured, the amount of property destroyed, the character of the riot,
+or the cause, as in this example:
+
+             |  In an effort to bring about the        |
+             |reinstatement of one of their number who |
+             |had been discharged for non-unionism, a  |
+             |hundred or more journeymen bakers wrecked|
+             |the bakeshop of Pincus Jacobs, at No.    |
+             |1571 Lexington avenue, early this        |
+             |morning.--_New York Evening Post._       |
+
+In the case of a storm the human life element is of greatest importance,
+then the damage to property, and last, the peculiar circumstances. For
+example:
+
+             |  CLEVELAND, Dec. 11.--Fifty-nine lives  |
+             |were the cost of a storm which passed    |
+             |over Lake Erie Wednesday night and       |
+             |Thursday, and more than $1,000,000 worth |
+             |of vessel property was destroyed.--_New  |
+             |York Evening Post._                      |
+
+If the story is concerned with a flood the human-life element is first,
+then the damage, the cause, the freaks of the flood, or the present
+situation. For example:
+
+             |  PARKERSBURG, W. Va., March 10.--Three  |
+             |persons are known to have perished in a  |
+             |flood which swept down upon the city on  |
+             |Friday when two water reservoirs on      |
+             |Prospect Hill burst without warning.     |
+             |Forty houses were destroyed and many     |
+             |persons are missing. The property damage |
+             |will be nearly $500,000.                 |
+
+
+=6. Police Court News.=--The ordinary run of police court news is in a
+class by itself. Usually the only news value in the story depends upon
+some unusual incident or circumstance that attracts the attention of the
+reporter. This is of course the source of many of the stories of crime,
+mentioned before, but many stories turn up at the police courts which
+are not concerned with crime, although in some cases they are concerned
+with criminals. In this field of reporting there are many opportunities
+for the human-interest story which will be taken up in a later chapter.
+When the incident is reported in an ordinary news story the feature is
+usually in some attendant circumstance and the story might well be
+classed with one of the above groups. Here are two examples from the
+daily press:
+
+             |  Because he did not have sufficient     |
+             |money to buy flowers for his sweetheart, |
+             |Henry Trupke, aged 21 years, forged a    |
+             |check for $22.50 on a grocer, J.         |
+             |Sieberlich, 781 Third street, and after a|
+             |week's chase was caught last night as he |
+             |got off a Wisconsin Central              |
+             |train.--_Milwaukee Sentinel._            |
+
+             |  But a few hours before receiving a     |
+             |sentence of two years in the house of    |
+             |correction for stealing furs from the    |
+             |store of Lohse Bros., 117 Wisconsin      |
+             |street, John Garner, self-confessed      |
+             |thief, was married to Rose Strean, one   |
+             |of the witnesses in the case, which was  |
+             |tried yesterday in the municipal         |
+             |court.--_Milwaukee Free Press._          |
+
+
+=7. Reports of Meetings, Conferences, Decisions, etc.=--This group
+includes all reports of meetings, or conferences, of bodies of any sort,
+political or otherwise, reports of judicial or legislative hearings or
+decisions, or announcements of resolutions passed. Such as:
+
+             |  WASHINGTON, Jan. 15.--Acquisition of   |
+             |the telegraph lines by the government and|
+             |their operation as a part of the postal  |
+             |system is the latest idea of Postmaster  |
+             |General Hitchcock. Announcement was made |
+             |today that a resolution to this effect   |
+             |will be offered to Congress at the       |
+             |present session.--_Wisconsin State       |
+             |Journal._                                |
+
+There is always one thing in these stories that gives them news
+value--the purpose or result of the conference, hearing, or
+announcement. This purpose or result, of course, must be played up. The
+one point that the reporter should remember is that a well-written lead
+begins with the result or purpose of the meeting or announcement rather
+than with the name of the meeting or the name of the body that makes the
+announcement. Never begin a story thus: "At a meeting of the Press Club
+held in the Auditorium last night it was resolved that----" Transpose
+the sentence and begin with a statement of what was resolved. In the
+following story the order is wrong:
+
+             |  The Supreme Court of the United States,|
+             |through the opinion delivered by Justice |
+             |Vandevanter, today declared              |
+             |constitutional the employers' liability  |
+             |law of 1908.                             |
+
+The import of the decision is buried; it should be written thus:
+
+             |  The employers' liability law of 1908   |
+             |was today declared constitutional by the |
+             |Supreme Court of the United States.      |
+             |Justice Vandevanter delivered the opinion|
+             |of the court, made in four cases.        |
+
+In these stories, as in all other news stories, the lead must begin with
+the fact or statement that gives the story news value. Burying this fact
+or statement behind two or three lines of explanation spoils the
+effectiveness of the lead. A student of journalism may gain very good
+practice in the writing of news stories by looking over the leads that
+appear in the daily papers and transposing those leads which bury their
+news behind explanations. The first line of type in a lead is like a
+shop's show window and it must not be used for the display of packing
+cases.
+
+
+=8. Stories on Other Printed Matter.=--A large part of a newspaper's
+space, especially in smaller cities, is devoted to stories based on
+printed bulletins, announcements, city directories, legislative bills,
+and published reports of various kinds. Sometimes a news story is
+written upon a pamphlet that was issued for advertising
+purposes--because there is some news in it. In all of these stories the
+reporter must look through the pamphlet to find something of news value
+or something that has a significant relation to other news. Smaller
+papers often print stories on the new city directory; the increase or
+decrease in population is treated as news and a very interesting story
+may be written on a comparison of the names in the directory. In
+university towns the appearance of a new university catalog or bulletin
+of any sort is the occasion for a story which points out the new
+features or compares the new bulletin with a previous one. Reporters and
+correspondents in political centers, like state capitals, get out
+stories on committee and legislative reports and on new bills that are
+proposed or passed by the legislature. The writing of these stories is
+very much like the reporting of a speech, which will be discussed later.
+The newest or most interesting feature in the report or bill is played
+up in the lead as the feature of the story, followed by the source of
+the story, the printed bulletin upon which the story is based; thus:
+
+             |  A new plan for placing the control of  |
+             |all water power in the state in the hands|
+             |of the legislature was proposed in the   |
+             |minority report of Senators J. B. Smith  |
+             |and L. C. Blake, of the special          |
+             |legislative committee on drainage, issued|
+             |today.                                   |
+
+These eight classes of news stories do not include all the news stories
+that a newspaper prints, but they are in a way typical of all the others
+that are not mentioned. It will be noted from these that all news
+stories, just like the fire story, are usually written in about the same
+way. Each one has a lead which begins with the feature of the
+story--i.e., the fact or incident in the story which gives it news value
+and makes it of interest--and concludes by answering the reader's
+questions, when, where, who, how, why, concerning the feature. Each
+story begins again after the lead, and in one or more paragraphs
+explains, describes, or narrates the incident in detail and in logical
+order. This body of the story which follows the lead, while following in
+general the logical order, is so written that its most interesting facts
+are near the beginning and its interest dwindles away toward the end.
+This is to enable the editor in making up his paper, to take away from
+the end of any story, as we have seen before, a paragraph or more
+without spoiling the story's continuity or depriving it of any of its
+essential facts. The form of the conventional fire story may be used as
+a model in the writing of any news story.
+
+In writing the body of a story to explain, describe, or narrate the
+incident mentioned in the lead, every effort should be directed toward
+clearness. This is particularly true of stories which are in the main
+narrations of action. The number of facts that may be included must
+depend upon the length of the story; if all of the facts cannot be
+included without overburdening the story, cut out some of the details of
+lesser importance, but treat those that are included in a clear readable
+way. Short sentences are always much better in newspaper writing than
+long involved sentences. Pronouns should always be used in such a way
+that there can be no doubt in regard to their antecedents. If a
+relative clause or participial expression sounds awkward make a separate
+sentence of it. In other words, be simple, concise, and clear--that is
+better in a newspaper than much fine writing.
+
+
+
+
+IX
+
+FOLLOW-UP AND REWRITE STORIES
+
+
+The terms "rewrite story" and "follow-up, or follow, story," are names
+which newspaper men apply to the rehashed or revised versions of other
+news stories. A large newspaper office employs one or more rewrite men
+who spend their entire time rewriting stories. To be sure, a part of
+their work consists of rewriting, or simply recasting, poorly written
+copy prepared by the reporters. But the major part of their work, the
+part that interests us, involves something more than that. It involves
+the rejuvenation of stories that have been printed in a previous edition
+or in another paper, with the purpose of bringing the news up to the
+present moment.
+
+News ages very rapidly. What may be news for one edition is no longer
+news when another edition goes to press an hour later. A feature that
+may be worth playing up in a morning paper would not have the same news
+value in an evening paper of the same day. The news grows stale so
+quickly because new things are continually happening and new
+developments are continually changing the aspect of previous stories.
+If a story has been run through two or three editions and new
+developments have changed it, the story is turned over to a rewrite man
+for consequent alteration. A story in a morning paper is no longer news
+for an evening paper of the same date, but a clever rewrite man, with or
+without new developments added to the story, can recast it so that it
+will appear to contain more recent news than the original story. The
+story of an arrest in a morning paper begins with the particulars of the
+arrest; but when the evening paper's rewrite man has rearranged it for
+his paper it has become the story of the trial or the police court
+hearing which followed the arrest. Perhaps the evening paper sends a man
+to get the later developments in the case, but every rewrite man knows
+the steps that always follow an arrest and he can rewrite the original
+story without additional information. His account of the later
+developments is called either a rewrite or a follow-up story, depending
+upon the method employed. The same fundamental idea of rejuvenating the
+former story governs the preparation of both the rewrite and the
+follow-up story, but while the rewrite story contains no additional
+news, the follow-up presents later facts in addition to the old news.
+
+
+=1. The Rewrite Story.=--The rewrite story is primarily a rehashing of a
+previous news story without additional facts. It attempts to give a new
+twist to old facts in order to bring them nearer to the present time.
+Without the aid of later facts the rewrite man can only select a new
+feature and revise the old facts. For example, suppose that a $100,000
+grain elevator burns during the night. The fire would make a big story
+in a city of moderate size and the papers next morning would treat it at
+length. If no one were killed or injured the story would probably begin
+with a simple announcement of the fire in a lead of this kind:
+
+             |  Fire destroyed the grain elevator of   |
+             |the H. P. Jones Produce Company, First   |
+             |and Water streets, and $50,000 worth of  |
+             |wheat at 2 o'clock this morning. The     |
+             |total loss is estimated at $150,000.     |
+
+Then the reporter would describe the fire at length, including all
+obtainable facts. By afternoon almost every one in the city has read the
+story--and yet the afternoon papers must print something about the big
+fire. If no new facts can be obtained the previous story must be
+rehashed and presented with a new feature that will make it appear to be
+a later story. It is useless to begin the evening story with a mere
+announcement of the fire, for that is no longer news, and the rewrite
+man must find a new beginning to attract the attention of his readers.
+Perhaps in looking over the morning story, he finds that the fire was
+the result of spontaneous combustion in the grain stored in the
+elevator. In the morning story this fact was rather insignificant in the
+face of the huge loss, and most readers passed over it hastily. The
+rewrite man, however, who has no later facts at his command, may seize
+it as a new feature. Instead of beginning his story with the fact of the
+fire, which is already known, he begins with the cause, which appears to
+be later news. His lead may be as follows:
+
+             |  Spontaneous combustion in the wheat    |
+             |bins of the H. P. Jones Produce Company's|
+             |elevator, First and Water streets,       |
+             |started the fire which destroyed the     |
+             |entire structure with a loss of $150,000 |
+             |this morning.                            |
+
+Or if the rewrite man is not so fortunate as to discover a new feature
+as good as this, he may have to resort to beginning with a picture of
+the present results of the fire--thus:
+
+             |  Smouldering ruins and a tangled mass of|
+             |steel beams are all that remain of the H.|
+             |P. Jones Produce Company's $100,000      |
+             |grain elevator, First and Water streets, |
+             |which was destroyed by fire this morning.|
+
+It will be noticed that, while these new rewrite leads begin with a new
+feature, each new lead contains all the facts presented in the previous
+lead and is told with an eye to the man who has not read the earlier
+account. After the lead the rewrite man retells the whole story for the
+benefit of readers who did not see the morning papers and rearranges the
+facts so that they appear new to those who read the previous stories.
+Facts which the other papers buried he unearths and displays; details
+which appear to be later developments he crowds to the beginning. The
+whole story is sorted and rewritten in a new order and with a new
+emphasis. The result is a rewrite story which appears to be later,
+although it contains no new facts at all. It is seldom, of course, that
+such a rewrite story is used for local news, for very rarely is it
+impossible for a later paper to discover new facts. But in the case of
+news from the outside world, from other cities, the simple method of
+rehashing old facts must often be resorted to. If the story is based
+upon a single dispatch announcing an earthquake in Hawaii or a shipwreck
+in mid-ocean, many rewrite stories must be printed on the same facts
+before another message brings later news and additional details. An
+example of this is the treatment of the first few stories of the wreck
+of the White Star liner _Titanic_. The story was a big one, but the
+first dispatches were very meager and many rehashings of these few facts
+had to be printed before later and more definite news could be obtained.
+
+The simple rewriting of an old story ordinarily involves a condensation
+of the facts. If a morning paper printed two thousand words on the grain
+elevator fire above, an afternoon paper of the same day would hardly
+treat the story at such length. For the story is no longer big news. If
+a story has run through the first editions of a morning paper it would
+be cut down, as well as rehashed, in the later editions of the same
+paper. The story of the fire loses its initial burst of interest after
+the first printing, and only the essential facts and the facts that can
+be rejuvenated can be reprinted. The 2,000-word version in the morning
+paper may be worth only five hundred words or less four hours later.
+
+
+=2. The Follow-up Story.=--If new facts are added to a story between
+editions the new version is no longer a simple rewrite story. It becomes
+a follow-up story, for it follows up the subsequent developments in the
+previous story and corresponds to the second or succeeding installments
+of a serial novel in which each installment begins with a synopsis of
+previous chapters. For example, if, in the grain elevator fire story,
+the body of a watchman were found in the ruins after the morning papers
+have gone to press, the story would immediately have a different news
+value for the evening papers. The story of the big fire is old, but the
+discovery of the body is new. Hence the rewrite man would begin with the
+later development--perhaps thus:
+
+             |  The body of a watchman was found this  |
+             |afternoon in the ruins of the H. P. Jones|
+             |Produce elevator, which burned to the    |
+             |ground this morning with a loss of       |
+             |$150,000.                                |
+
+The new story, while retelling the principal facts in the previous
+account, would give prominence to the latest news, the discovery of the
+body. As an example from a newspaper, let us take the follow-up of a
+murder mystery. The first stories on this murder simply said that a
+grocer had been found dead in the cellar of his store and murder had
+been suggested. The follow-up on the next day (printed here) deals with
+a new development--has a new feature--and carries the story one step
+further in the attempt to unravel the mystery:
+
+             |  Developments yesterday in the story of |
+             |the killing of James White, the Park     |
+             |street grocer, tended to support the     |
+             |contention of Coroner Donalds and the    |
+             |police that White was not murdered, but  |
+             |died by his own hand.                    |
+
+
+=3. Analysis.=--So far we have treated the rewrite story and the
+follow-up story separately, but for the purposes of analysis and study
+they may be treated together, because the same fundamental idea governs
+both. Dissection of the follow-up story will also show us what the
+rewrite story is made of.
+
+From the above clippings it will be seen that the lead of the follow-up
+story is very much like that of any news story. The lead has its feature
+in the first line and answers the reader's questions concerning that
+feature. It is simply a new story written on an old subject which has
+been given a new feature to make it appear new. Furthermore, it will be
+noticed that the lead of the follow-up story is complete in itself,
+without the original story that preceded it. Although the whole idea of
+the follow story is based on the supposition that all readers have read
+every edition of the paper and are therefore acquainted with the
+original story, yet for the benefit of those readers who have not read
+the previous story, the follow-up must be complete and clear in itself.
+New facts are introduced into the follow story, but its lead tells the
+main facts of the original story so that no reader will be at loss to
+understand what it is all about--in other words, it gives a synopsis of
+previous chapters. In many follow-up stories the new developments are
+supplemented by an entire retelling of the original story. This is
+especially true when one paper is rewriting a story which broke too late
+for its preceding edition and was covered by a rival paper. At any rate,
+every follow-up story, like every other news story, must be so
+constructed as to stand by itself without previous explanation.
+
+             |  Of the 142 bodies of victims of the    |
+             |Triangle Waist Company's fire on         |
+             |Saturday, that had been taken to the     |
+             |morgue up to noon yesterday when it was  |
+             |decided that all the dead had been       |
+             |recovered, all but 45 had been identified|
+             |today.                                   |
+
+This is a follow-up of a story two days before. Every reader of the
+paper probably knew everything that had been printed previously about
+the fire, and yet this lead very carefully recalls the fire to the
+reader's mind. Later in the story the principal facts of the original
+story are retold as if they were new and unknown.
+
+It is interesting to see what in any given newspaper story can be
+followed up for a later story. The would-be reporter may get good
+practice in writing follow-up stories from the mere attempt to study out
+the next step in any given new story. With this next step as his feature
+he may try to write a follow-up story without additional information,
+and then compare it with other follow-up stories. For every news story
+contains within it clues to what may be expected to follow.
+
+When any serious fire occurs certain additional facts may always be
+expected to follow. The finding of more dead, the unravelling of a
+mysterious origin, the re-statement of the loss, and the present
+condition of the injured are some of the possibilities that a rewrite
+man considers when he tries to prepare a follow-up story on a fire. The
+Washington Place fire in New York on March 25, 1911, furnished admirable
+material for the study of the rewriting of fire stories. The fire
+occurred on Saturday afternoon too late for anything but the Sunday
+editions. The original story as it appeared in the Sunday papers and the
+Monday issues, of papers which had no Sunday editions, began like this:
+
+             |  One hundred and forty-one persons are  |
+             |dead as a result of a fire which on      |
+             |Saturday afternoon swept the three upper |
+             |floors of the factory loft building at   |
+             |the northwest corner of Washington place |
+             |and Greene street. More than             |
+             |three-quarters of this number are women  |
+             |and girls, who were employed in the      |
+             |Triangle Shirt Waist factory, where the  |
+             |fire originated.--_Boston Transcript,    |
+             |Monday._                                 |
+
+The Monday stories on the fire followed up various phases as shown in
+the following. Each one while indicating that the story was a follow-up
+retold the principal incidents in the fire.
+
+             |  The death list in the Washington place |
+             |and Greene street fire was swelled today |
+             |to 145, a majority of the victims being  |
+             |young girls.--_Monday morning--second    |
+             |story._                                  |
+
+             |  At dawn today it was estimated that    |
+             |25,000 persons had visited the temporary |
+             |morgue on the covered pier at the foot of|
+             |East Twenty-sixth street, set aside to   |
+             |receive the bodies of those who perished |
+             |in the Washington place fire on Saturday |
+             |afternoon.--_Monday morning--second      |
+             |story._                                  |
+
+             |  The horror of the fire in the ten-story|
+             |loft building at Washington place and    |
+             |Greene street late Saturday afternoon,   |
+             |with its heavy toll of human lives, grows|
+             |blacker each succeeding hour.--_Monday   |
+             |afternoon._                              |
+
+             |  Of the 142 bodies in the morgue as a   |
+             |result of the Triangle Shirt Waist       |
+             |factory fire, all but fifty had been     |
+             |identified this morning.--_Monday        |
+             |afternoon._                              |
+
+On Tuesday other lines opened up for the rewrite man:
+
+             |  Sifting down the great mass of         |
+             |testimony at their disposal, city and    |
+             |county officials hoped today to draw     |
+             |closer to the source of responsibility   |
+             |for Saturday's factory fire horror in    |
+             |which 142 persons lost their lives.      |
+             |Investigations started                   |
+             |yesterday.--_Tuesday afternoon._         |
+
+             |  With all but twenty-eight of the       |
+             |victims of the Triangle Shirt Waist      |
+             |factory horror identified, District      |
+             |Attorney Whitman continues steadily      |
+             |compiling evidence. Funerals for scores  |
+             |of victims are being held today, while   |
+             |the relief fund, etc.--_Tuesday          |
+             |afternoon._                              |
+
+             |  Borough President McAneny of Manhattan,|
+             |the district attorney's staff, the fire  |
+             |marshal, the coroner and the state labor |
+             |department are bending every energy      |
+             |toward fixing the blame for the loss of  |
+             |the 142 lives in the, etc.--_Tuesday     |
+             |afternoon._                              |
+
+             |  Union labor, horrified by the full     |
+             |realization that the waste of human life |
+             |in the Triangle Waist factory fire might |
+             |have been saved had existing laws been   |
+             |enforced, today arranged for a monster   |
+             |demonstration of protest, etc.--_Tuesday |
+             |afternoon._                              |
+
+And so the stories ran for many days until newspaper readers had lost
+all interest in the fire. Most of the stories were simply retellings of
+the original story with a new bit of information in the lead. People
+were ravenous for more details about the fire and the follow stories
+supplied them until they were satisfied. Rarely is a fire worth so many
+retellings.
+
+A serious accident is often followed up in one or more editions. If many
+people are killed or injured, the revised list of dead or the present
+condition of the injured always furnishes material for a follow-up.
+Sometimes the fixing of the blame, as in a railroad accident, or other
+resulting features are used as the basis of the rewriting.
+
+In the case of a robbery the commonest material for a follow-up story is
+the resulting pursuit or capture. Very often a final report of the loss,
+the present condition of a robbed bank or public institution, or perhaps
+the regaining of the booty, makes a feature for a new story. But usually
+the follow-up is concerned with the pursuit, capture, or trial. This is
+especially true if the original story has been told by an earlier paper
+and another later paper wishes to print a more up-to-date story on the
+robbery, such as:
+
+             |  MINOCQUA, Wis., Oct. 22.--It now begins|
+             |to look as if the bandits who robbed the |
+             |State Bank of Minocqua early Tuesday     |
+             |morning would make their escape with the |
+             |booty. (This is followed by a re-telling |
+             |of the entire story of the robbery and an|
+             |account of the pursuit.)                 |
+
+The most usual follow-up of a murder story is interested in the pursuit,
+capture, or trial of the perpetrator of the deed. For example:
+
+             |  Following the discovery of the body of |
+             |Pietro Barilla, an Italian, of Woodhaven,|
+             |Long Island, who was stabbed to death by |
+             |four men, presumably Black Hand members, |
+             |in Lincoln Road, near Flatbush, early    |
+             |yesterday morning, the police arrested   |
+             |three men yesterday.                     |
+
+Very often the present condition of the victim of an attempted murder
+calls for a new story. The stories following the attempted murder of
+Mayor Gaynor of New York are good examples of the latter. If a mystery
+surrounds the crime a possible solution is grounds for a new story. The
+stories which might follow the unraveling of the mystery surrounding the
+fictitious death of the grocer, mentioned at the beginning of this
+chapter, would be second-day murder stories. The original story, let us
+say, was something like this:
+
+             |  James White, a groceryman, was found   |
+             |dying yesterday with a bullet wound in   |
+             |his abdomen, in the cellar of his grocery|
+             |store at 1236 Park street.               |
+
+The next story on the murder would be concerned with the unraveling of
+the mystery, thus:
+
+             |  The preliminary inquiry yesterday by   |
+             |Coroner John F. Donalds, into the        |
+             |mysterious death of James White, the Park|
+             |street grocer, resulted in the conclusion|
+             |that White was murdered.                 |
+
+And so the stories might run on day after day following the solution of
+the case like the succeeding chapters of a continued novel, and each one
+gives the synopsis of the preceding chapters in its lead, as every good
+follow-up story should do.
+
+Suicide stories seldom offer material for follow-up stories unless there
+is some mystery surrounding the case. Sometimes the present condition of
+a resuscitated victim of attempted suicide or the disposition of the
+estate of a suicide offers material for rewriting.
+
+Serious storms and floods are usually followed up for several days.
+Readers are always interested in the present condition of the devastated
+region. Very often the list of dead and injured is revised from day to
+day, and any attempt to lend aid to the unfortunate victims is always a
+reason for a later story.
+
+Any meetings, conferences, trials, conventions, or the like must be
+followed up day by day with succeeding stories. Each story is complete
+in itself, but each one adds one more chapter to the report of the
+meeting. This method of following a continued proceeding calls for a
+series of follow-up stories; examples of the stories that follow a
+continued legal trial will be given later under Court Reporting.
+
+                  *       *       *       *       *
+
+Many other illustrations might be given of follow-up stories that appear
+daily in the newspapers. In the last analysis, the follow-up or the
+rewrite story is nothing more than an ordinary news story, and as such
+must be written in the same way. It begins with a lead which plays up a
+feature and answers the reader's questions about the subject; the body
+of the story runs along like the body of any news story. But it is
+different in being a later chapter of a previous account; while complete
+in itself, it must not only indicate the previous story, but must tell
+its most important facts for readers who may have missed the previous
+story. It is simply a news story which is tied to a previous story by a
+string of cause and effect.
+
+
+=4. Following Up Related Subjects.=--In this connection it may be well
+to mention another kind of follow-up story that is usually written in
+connection with big news events. It is written to develop and follow up
+side lines of interest growing out of the main story. In its most usual
+form it is a statistical summary of events similar to the great event of
+the day--such as similar fires, similar railroad wrecks, etc., in the
+past. Any big story attracts so much attention among newspaper readers
+that the facts at hand are usually not sufficient to supply the public's
+demand for information on the subject. To satisfy these demands editors
+develop lines of interest growing out of the main event. They interview
+people concerning the event and concerning similar events; they describe
+similar events that have taken place in the past; they summarize and
+compare similar events in the past--in short, they follow up every line
+of interest opened up by the big story and write stories on the result.
+These stories are of the nature of follow-up stories in that they grow
+out of, and develop, the main story in its greatest extent.
+
+For example, the wreck of the ocean liner _Titanic_ called for
+innumerable side stories because the public's interest demanded more
+facts than the newspapers had at hand to supply. Hence, the papers wrote
+up similar shipwrecks in the past, gathered together summaries of the
+world's greatest shipwrecks, interviewed people who had been in any way
+connected with shipwrecks or with any phase of this shipwreck, described
+glaciers and icebergs, estimated the depth of the ocean where the
+_Titanic_ sank, described the White Star liner and other liners,
+pictured real or imaginary shipwrecks, and developed every other related
+subject. The real news in all this mass of material was very meager, but
+the related stories satisfied the greedy public and helped newspaper
+readers to understand and to picture the real significance of the meager
+news.
+
+In the same way a disastrous fire, like the burning of the Iroquois
+Theater, calls for innumerable outgrowing stories. Even when the event
+reported in the main news story is not sufficiently important to call
+for related stories, it is often accompanied by a list (usually put in a
+box at the head of the story) of other similar events and their results.
+These follow-up stories of related subjects are, in form, very much like
+feature stories, although they usually conform to the follow-up idea of
+mentioning in their leads the main news event to which they are
+related.
+
+
+
+
+X
+
+REPORTS OF SPEECHES
+
+
+Every profession has its disagreeable tasks; journalism has perhaps more
+disagreeable tasks than any other profession. All of a reporter's work
+is not concerned with running down thrilling stories and writing them up
+in a whirl of breathless interest. Our readers demand other kinds of
+news, and it is the reporter's task to satisfy them faithfully. There is
+probably no phase of the work that is quite so irksome as the reporting
+of speeches, lectures, sermons, etc., and there is probably no phase of
+the work about which most reporters have fewer definite rules or ideas.
+Read the reports of the same speech in two different papers and note the
+difference. They seldom contain the same things and more seldom do they
+tell what the speaker said, in the way and the spirit in which he said
+it. It is irksome work and difficult work to condense an hour's talk
+into three stickfuls, and few reporters know exactly how to go about
+it.
+
+The report of a speech or a sermon or a lecture may come to a newspaper
+office in one of two ways. A copy of it may be sent to the paper or the
+reporter may have to go to hear the address and take notes on it. Very
+often the speaker kindly sends a printed or typewritten copy of his
+speech to the editor a few days in advance with the permission to
+release it--or print it--on a certain date, after the speech has been
+delivered in public. If the speech is to be printed in full, the task is
+a mere matter of editing and does not trouble the reporter. Very few
+speeches receive so much space. The others must be condensed and put in
+shape for printing.
+
+After all, the usual way to get a speech is to go to the public delivery
+of the speech and bring back a report of it. At first sight this is a
+difficult task and green reporters come back with a very poor resume.
+However, a word or two of advice from the editor or some bitter
+experience eases the way. Some advice may be given here to prepare the
+would-be reporter beforehand.
+
+Some reporters who know shorthand prefer to make a stenographic report
+of the entire speech and rearrange and condense it in the office. This
+method is advisable only in the case of speeches of the greatest
+importance; it is too laborious for ordinary purposes, since the account
+includes at most only a part of the speech. The best way, doubtless, to
+get a speech is to take notes on it. And yet this must be done properly
+or there is a danger of misinterpretation of statements or of undue
+emphasis upon any single part of the speech. The report of a speech
+should be as well balanced and logical as the speech itself, differing
+from the original only in length and the omission of details. The speech
+report must be accurate and truthful or the speaker may appear at the
+office in a day or two with blood in his eye. A few rules may be
+suggested as an aid to accuracy and truthfulness.
+
+In the first place, do not try to get all the speech; do not try to get
+more than a small part of it--the important part. There are two ways of
+doing this. If the speech is well arranged and orderly it is easy to
+tell when the speaker has finished one sub-division and is beginning
+another. Each division and subdivision will naturally contain a topic
+sentence. Watch for the topic sentences and get them down with the
+briefest necessary explanation to make them clear. Political speeches or
+impromptu talks are, on the other hand, not always so logically
+arranged. Sometimes it is possible to get the topic sentences, but more
+often it is not. Then watch for the interesting or striking statements.
+You will be aided in this by the audience about you. Whenever the
+speaker says anything unusually striking or of more than ordinary
+interest the audience will show it by signs of assent or dissent. Watch
+for these signs, even for applause--and take down the statement that was
+the cause. If the statement interested the original audience it will
+interest your readers. Naturally, mere oratorical trivialities must not
+be mistaken for striking statements.
+
+When you get back to the office to write up the report of the speech you
+will feel the need of direct quotations--in fact, the length of your
+report will be determined by the number of direct quotations that you
+have to use in it--as well as by editorial dictum. It would be entirely
+wrong to quote any expressions of your own because they are somewhat
+like the speaker's statements, and it is impossible to quote anything
+less than a complete sentence in the report of a speech. Hence you will
+need complete sentences taken down verbatim in the exact words of the
+speaker. Make it a point to get complete sentences as you listen to the
+speech. Whenever a striking statement or an interesting part of the
+speech seems worth putting in your story get it down completely. You
+will find yourself writing most of the time because, while you are
+writing down one important sentence, the speaker will be uttering
+several more in explanation and may say something else of interest
+before you have finished writing down his first statement. Strict
+attention, a quick pencil, and a good memory are needed for this kind of
+work, but the reporting of speeches will lose its terrors after you have
+had a very small amount of practice.
+
+Just as any news story begins with a lead and plays up its most striking
+fact in the first line, the report of a speech usually begins with the
+speaker's most striking or most important statement. As you are
+listening to his words watch for something striking for the
+lead--something that will catch the reader's eye and interest him. But
+you must exercise great care in selecting the statement for the lead.
+Theoretically and practically it must be something in strict accordance
+with the entire content of the speech and, if possible, it should be the
+one statement that sums up the whole speech in the most concise way.
+Somewhere in the discourse, at the beginning, at the end, or in some
+emphatic place, the speaker will usually sum up his complete ideas on
+the subject in a striking, concise way. Watch for this summary and get
+it down for the lead. However, there may be times when this summary,
+though concise, will be of little interest to the average reader and you
+will be forced to use some other striking statement. Then it is
+perfectly permissible to take any striking statement in the speech and
+use it for the lead, provided that the statement is directly connected
+with the rest of the discourse. But be fair to the speaker. Do not play
+up some chance remark as illustrative of the entire utterance; don't
+bring in an aside as the most interesting thing in his speech. If a
+preacher forgets himself to the extent of expressing a chance political
+opinion, it would obviously be unfair to him for you to play up that
+remark as the summary of his sermon. Your readers would get a false
+impression and the preacher would be angry. If he considers the chance
+remark of real importance in his sermon he will back it up with other
+statements that will give you an excuse for using it. In brief, watch
+for the most interesting and most striking statement in the entire
+speech, and in selecting this statement be fair and just and try to
+avoid giving a false impression of the speaker or of the speech. If you
+follow this rule you will never be in any danger of getting your paper
+into difficulties.
+
+Another rule in reporting lectures, speeches, etc., applies to the
+writing of all newspaper stories. Write your report at once while the
+speech is still fresh in your mind. Your report must preserve the logic
+and continuity of the speech--it must be a fair resume. Your notes will
+be at best mere jottings of chance sentences here and there. Do not
+allow them to get cold and lose their continuity. Write the report at
+once.
+
+                  *       *       *       *       *
+
+The writing of the report of a speech, lecture, or sermon is the same
+whether it is taken from a printed or stenographic copy of the discourse
+or from notes. It is perhaps easier to write from your notes because you
+have the important parts of the speech picked out, ready for use, by the
+aid of the rest of the audience. Before you can resume a printed copy of
+the speech you must go through it and pick out the important sentences
+which you wish to quote and decide upon the most striking statement for
+the lead. There is no definite rule that can be followed in this except
+to take the topic sentences whenever they are stated with sufficient
+clearness. When you have decided on the statements that you wish to
+quote you have really reduced the speech to a form practically identical
+with the notes taken from verbal utterance, and the writing in either
+case is the same.
+
+The lead of the report is very much like the lead of any other news
+story--for the report of a speech is really a news story. As soon as the
+speech is mentioned, the reader unconsciously asks a number of questions
+about it and the reporter must answer them in the first sentence. As in
+any other news story the questions are: _What?_ _Who?_ _Where?_ _When?_
+and perhaps _How?_ and _Why?_ Reduced to the case of the speech report,
+they amount to what did he say, who said it, where did he say it, when,
+and perhaps how and why did he say it. You may answer the _what_ by
+giving the subject of the discourse or by giving a striking statement in
+it. In every report the answer to some one of the questions is of
+greater interest and must be placed in the first line. If the speaker is
+of more than ordinary prominence his name makes a good beginning. If an
+ordinary person makes a speech at some meeting of prominence the _when_
+or _where_ takes precedence over his name. But in most cases the
+reporter will find that none of these things is of sufficient importance
+for the beginning. Most public utterances that he will be called upon to
+report will be made by ordinary men in ordinary places and at ordinary
+times, and the most interesting part of the story will be what was said.
+Sometimes it suffices to give the title of the speech, but more often a
+striking statement from the speech makes the best beginning. However,
+although the speaker, the time, the place, etc., are overshadowed in
+importance by the subject or content of what the speaker says, they must
+be included in the same sentence with the title or striking statement.
+That is, in short, we catch the reader's interest with a striking
+statement from the speech and then delay the rest of the report while we
+tell who said it, when, where, etc. The necessity of this is obvious.
+
+In accordance with the foregoing there are several possible ways in
+which to begin the lead of the report of any speech. It would be wrong
+to say that any one is more common or better than the others; the choice
+of the beginning must rest with the reporter. And yet there are various
+things to be noted in connection with each of these beginnings.
+
+
+=1. Direct Quotation Beginning.--Sentence.=--The quotation that is to
+have the first line must of course be the most striking or the most
+interesting statement in the speech. If it consists of a single
+sentence--and it cannot be less than a sentence--the report may begin
+thus:
+
+             |  "Participation in government is not    |
+             |only the privilege, but the right, of    |
+             |every American citizen and should be     |
+             |considered a duty," said the Rev.        |
+             |Frederick W. Hamilton, president of Tufts|
+             |College, who spoke on "The Political     |
+             |Duties of the American Citizen" at the   |
+             |monthly men's neighborhood meeting in the|
+             |Roxbury Neighborhood House last          |
+             |night.--_Boston Herald._                 |
+
+Here the reporter has given us a sentence that is practically a summary
+of the speech, has told us who said it, when and where, and has
+completed the paragraph with the title of the speech. Sometimes the
+title of the speech is not of great importance and its place in the lead
+may be given to a little summary as in the following:
+
+             |  "The modern man isn't afraid of hell," |
+             |was the concise explanation which W.     |
+             |Lathrop Meaker gave in Franklin Union    |
+             |Hall yesterday afternoon and evening of  |
+             |the fact that the churches are losing    |
+             |their grip on the average man.--_New York|
+             |Sun._                                    |
+
+A question which embodies the content of a speech may often be quoted at
+the beginning; thus:
+
+             |  "Will the Baptist church continue to   |
+             |maintain an attitude of timidity when    |
+             |John D. Rockefeller of Standard Oil is   |
+             |mentioned?" asked the Rev. R. A. Bateman,|
+             |from East Jaffrey, N. H., of the         |
+             |ministers assembled in Ford Hall last    |
+             |evening at the New England Baptist       |
+             |conference.--_Boston Herald._            |
+
+The opening quotation may sometimes be made an excuse for a brief
+description of the speaker or his gestures as in the following. This is
+good at times but it may easily be overworked or become "yellow" in
+tone.
+
+             |  "There is no fire escape," remarked    |
+             |Gypsy Smith, the famous English          |
+             |evangelist, yesterday before the         |
+             |fashionable audience of the Fifth Avenue |
+             |Baptist Church. He held aloft a Bible as |
+             |he made this declaration during an       |
+             |eloquent sermon on the possibility of    |
+             |losing faith and wandering from the      |
+             |narrow way.--_New York World._           |
+
+
+=2. Direct Quotation Beginning.--Paragraph.=--You notice that in each of
+the foregoing the quoted sentence is incorporated grammatically into the
+first sentence of the lead. It is followed by a comma and the words
+"said Mr. ----," "was the statement of ----," "declared Mr. ----," etc.
+This construction is possible only when the quoted sentence is short and
+simple. When it is long or complex, it is well to paragraph it
+separately and to put the explanations in a separate paragraph, thus:
+
+             |  "If the United States had possessed in |
+             |1898 a single dirigible balloon, even of |
+             |the size of the one now at Fort Myer,    |
+             |Virginia, which cost less than $10,000,  |
+             |the American army and navy would not have|
+             |long remained in doubt of the presence of|
+             |Cervera's fleet in Santiago harbor."     |
+             |                                         |
+             |This statement was made today by Major   |
+             |G. O. Squier, assistant chief signal     |
+             |officer of the army, in an address on    |
+             |aeronautics delivered before the American|
+             |Society of Mechanical Engineers at 29    |
+             |West Thirty-ninth street.--_New York     |
+             | Mail._                                  |
+
+This same construction must _always_ be used when the statement quoted
+in the lead consists of more than one sentence, as in the following:
+
+             |  "The climate of Wisconsin is as good   |
+             |for recovery from tuberculosis as that of|
+             |any state in the union. It is not the    |
+             |climate, but the out-of-doors air that   |
+             |works the cure."                         |
+             |                                         |
+             |So said Harvey Dee Brown in his          |
+             |tuberculosis crusade lecture in Kilbourn |
+             |park last night.--_Milwaukee Free Press._|
+
+It is to be noted that the statement quoted in the lead is never split
+into two parts, separated by explanation. The quotation is always
+gathered together at the beginning and followed by the explanation.
+
+
+=3. Indirect Quotation Beginning.=--This method is best adapted to the
+playing up of a brief resume of the content of the speech. It is
+sometimes called the "_that_-clause beginning" because it always begins
+with a _that_-clause which is the subject of the principal verb of the
+sentence--"was the statement of," "was the declaration of," etc. The
+_that_-clause may contain a resume of the entire speech or only the most
+striking statement in it. Here is one of the latter:
+
+             |  That the cruise of the battleship fleet|
+             |around the world has taught the citizens |
+             |of the United States that a powerful     |
+             |fleet is needed in the Pacific was the   |
+             |statement of Rear Admiral R. C. Hollyday,|
+             |chief of the bureau of yards and docks of|
+             |the navy, at a luncheon given to him by  |
+             |the board of trustees of the Chamber of  |
+             |Commerce at the Fairmont Hotel           |
+             |yesterday.--_San Francisco Examiner._    |
+
+It is not always necessary to use the phrase "was the statement of." A
+variation from it is often very good:
+
+             |  That it is the urgent mission of the   |
+             |white people of America, through their   |
+             |churches and Sunday-schools, to educate  |
+             |the American negro morally and           |
+             |religiously, was the sentiment of the    |
+             |twelfth session of the International     |
+             |Sunday-school Convention last night,     |
+             |voiced with special power and eloquence  |
+             |by Dr. Booker T. Washington, the chief   |
+             |speaker of the evening.--_Louisville     |
+             |Courier-Journal._                        |
+
+             |  That the Irish race has a great destiny|
+             |to fulfill, one greater than it has      |
+             |achieved in its glorious past, was the   |
+             |prophecy of Prof. Charles Johnston of    |
+             |Dublin university in his lecture at the  |
+             |city library Sunday                      |
+             |afternoon.--_Wisconsin State Journal._   |
+
+It is perfectly good usage to begin such a lead with two _that_-clauses
+or even with three. The two clauses in this case are of course treated
+as a singular subject and take a singular verb. It is usually best not
+to have more than three clauses at the beginning and even three must be
+handled with great care. Three clauses at the beginning, if at all long,
+bury the speaker's name too deeply and may become too complicated.
+Unless the clauses are very closely related in idea, it is usually
+better not to use more than two. Naturally when more than one
+_that_-clause is used in the lead, all of the clauses must be gathered
+together at the beginning; never should one precede and one follow the
+principal verb. Here is an example of good usage:
+
+             |  NEW YORK, Feb. 25.--That America is    |
+             |entering upon a new era of civic and     |
+             |business rectitude and that this is due  |
+             |to the awakening of the moral conscience |
+             |of the whole people was the prophecy made|
+             |here tonight by Governor Joseph W. Folk  |
+             |of Missouri.--_Chicago Record-Herald._   |
+
+
+=4. Summary Beginning.=--This is a less formal way of treating the
+indirect quotation beginning. It is simply a different grammatical
+construction. Whereas in the _that_-clause beginning the principal verb
+of the sentence is outside the summary (e. g., "That ... was the
+statement of"), in the summary beginning the principal verb of the
+sentence is the verb of the summary and the speaker is brought in by
+means of a modifying phrase; thus:
+
+             |  MINNEAPOLIS, Oct. 1.--Both the free    |
+             |trader and the stand-patter are back     |
+             |numbers, according to Senator Albert J.  |
+             |Beveridge of Indiana, who delivered a    |
+             |tariff speech here tonight.--_Milwaukee  |
+             |Free Press._                             |
+
+             |  Federal control of the capitalization  |
+             |of railroads is the solution of the      |
+             |railroad problem suggested by E. L.      |
+             |Phillipp, the well-known Milwaukee       |
+             |railroad expert, in the course of a      |
+             |speech at the third annual banquet of,   |
+             |etc.--_Milwaukee Free Press._            |
+
+The summary beginning may be handled in many different ways and allows
+perhaps more grammatical liberty than any other beginning. The summary
+may even be given a sentence by itself as in the following. This kind of
+treatment may easily be overdone and should be handled with great
+caution:
+
+             |  If you have acute mania, it is the     |
+             |proper thing to take the music cure. Miss|
+             |Jessie A. Fowler says so, and she knows. |
+             |Miss Fowler discussed "Music             |
+             |Hygienically" before the "Rainy Daisies" |
+             |at the Hotel Astor yesterday and         |
+             |prescribed musical treatment for various |
+             |brands of mania.--_New York World._      |
+
+
+=5. Keynote Beginning.=--Very closely related to the summary beginning
+is the keynote beginning, in which the subject of the main verb is an
+indirect presentation of the content of the speech. Whereas the summary
+beginning displays its resume in a complete sentence, the keynote
+beginning puts the content of the speech in a single noun and its
+modifiers. Thus:
+
+             |  The ideal state university was the     |
+             |theme of a speech delivered by, etc.     |
+
+             |  The mission of the newspaper to tell   |
+             |the truth, to stand for high ideals, and |
+             |to strive to have those ideals adopted by|
+             |the public was the keynote of an address |
+             |delivered by, etc.                       |
+
+
+=6. Participial Beginning.=--This is less common than the other kinds of
+indirect quotation beginnings but it is often very effective. The
+summary of the speech or the most striking statement is put into a
+participial phrase at the beginning and is made to modify the subject of
+the sentence (the speaker). It must of course be remembered that such a
+participial phrase can be used only to modify a noun, as an adjective
+modifies a noun, and can never be made the subject of a verb. Here is an
+example of good use of this beginning:
+
+             |  Upholding the right of public criticism|
+             |of the courts on the theory that there   |
+             |can be no impropriety in investigating   |
+             |any act of a public official, Judge      |
+             |Kennesaw M. Landis last night addressed  |
+             |the students of Marquette College of Law |
+             |and many members of the Milwaukee        |
+             |bar.--_Milwaukee Free Press._            |
+
+Just as it is perfectly possible to begin an indirect quotation lead
+with two _that_-clauses instead of one, it is also possible to use two
+participial phrases in the participial beginning; as:
+
+             |  Pleading for justice and human         |
+             |affection in dealing with the delinquent |
+             |child, and urging the vital need of      |
+             |legislation which shall enforce parental |
+             |responsibility, Mrs. Nellie Duncan made  |
+             |an address yesterday which stirred the   |
+             |sympathies of an attentive audience in   |
+             |the First Presbyterian Church.--_San     |
+             |Francisco Examiner._                     |
+
+Although the participial phrase usually gives the summary of the speech,
+not infrequently the participial construction is used to play up the
+name of the speech or some other fact and the summary comes after the
+principal verb of the lead; thus:
+
+             |  Paying tribute to the memory of        |
+             |President William McKinley last night at |
+             |the Metropolitan Temple, where exercises |
+             |were held to dedicate the McKinley       |
+             |memorial organ, Judge Taft told in detail|
+             |of his commission to the Philippine      |
+             |service and his subsequent intimate      |
+             |connection with the President.--_New York|
+             |Tribune._                                |
+
+
+=7. Title Beginning.=--There are two reasons for beginning the report of
+a public utterance with the speaker's subject or title. The title itself
+may be so broad that it makes a good summary of the speech, or it may be
+so striking in itself that it attracts interest at once. In the
+following examples the title is really a summary of the speech:
+
+             |  NEW YORK, Dec. 15.--"The Compensation  |
+             |of Employes for Injuries Received While  |
+             |at Work" was taken by J. D. Beck,        |
+             |commissioner of labor of Wisconsin, as   |
+             |the theme of his address before the      |
+             |National Civic Federation here           |
+             |today.--_Milwaukee Free Press._          |
+
+             |  "The Emmanuel Movement" was the subject|
+             |of an address by Rabbi Stephen S. Wise of|
+             |the Free Synagogue yesterday             |
+             |morning.--_New York Evening Post._       |
+
+In the following stories the reporter began with the title evidently
+because it was so strikingly unusual and also because it was the title
+of a strikingly unusual speech by an unusual man. This kind of title
+beginning is always very effective:
+
+             |  "Booze, or Get on the Water Wagon," was|
+             |the subject on which Rev. Billy Sunday,  |
+             |the baseball evangelist, addressed an    |
+             |audience of over 4,000 persons at the    |
+             |Midland Chautauqua yesterday afternoon.  |
+             |For two hours Sunday fired volley after  |
+             |volley at the liquor traffic.--_Des      |
+             |Moines Capital._                         |
+
+             |  "If Christ Came to Milwaukee" was the  |
+             |subject of the Rev. Paul B. Jenkin's     |
+             |Sunday night in Immanuel Presbyterian    |
+             |Church.--_Milwaukee Sentinel._           |
+
+
+=8. Speaker Beginning.=--It is obvious that this is the easiest
+beginning that may be used in the report of a speech. But just as
+obviously it is the beginning that should be least used. Just as in
+writing news stories a green reporter always attempts to begin every
+lead with the name of some person involved, in reporting a public
+discourse he has a strong desire to put the name of the speaker before
+what the speaker said. But the same tests may be applied to both cases.
+Are our readers more interested in what a man does than in the man
+himself; do our readers go to hear a given speaker because they wish to
+hear what he has to say or because they wish to hear _him_? Whenever the
+public is so interested in a man that it does not care what he says,
+then you may feel safe in beginning the report of what he says with his
+name. This test may be altered, especially in smaller cities, by
+previous interest in the speech; if the speech has been expected and
+looked forward to with interest, then, no matter if the speaker is the
+President himself, his name is not as good news as what he has to say.
+Even if the lead does begin with the speaker's name, the reporter
+usually tries to bring a summary of the speech or the most striking
+statement into the first sentence after the name. For example:
+
+             |  Speaker Joseph G. Cannon placed himself|
+             |on record last night in favor of a       |
+             |revision of the tariff in accordance with|
+             |the promise of the Republican party      |
+             |platform and declared that so far as his |
+             |vote was concerned he would see to it    |
+             |that the announced policy of revision    |
+             |would be written in the national laws as |
+             |soon as possible. The words of the       |
+             |speaker came at a luncheon given to six  |
+             |rear admirals of the United States navy  |
+             |by Alexander H. Revell of Chicago in the |
+             |Union League Club, at which the need of  |
+             |more battleships and increased efficiency|
+             |of the fighting forces of the republic   |
+             |were the principal themes of discussion. |
+
+This example was chosen because, while it is written in accordance with
+the rules of the speaker beginning, it is obviously too long and
+complicated--over 110 words. It would be better to gather it together
+and condense it as in the following:
+
+             |  Chief Forester Gifford Pinchot opened  |
+             |the second day's session of the national |
+             |conservation congress yesterday by an    |
+             |address in which he expressed his entire |
+             |satisfaction and his confidence in the   |
+             |attitude of President Taft toward        |
+             |conservating the national                |
+             |resources.--_Milwaukee Sentinel._        |
+
+             |  ST. PAUL, Minn., Feb. 10.--Booker T.   |
+             |Washington of Tuskegee, Ala., in an      |
+             |address at the People's Church tonight   |
+             |predicted that within two years the      |
+             |liquor traffic would be driven out of all|
+             |the southern states but two.--_Milwaukee |
+             |Sentinel._                               |
+
+There are obviously other beginnings that cannot be classed under any of
+the above heads. Some of them, much like the "freak" leads that may be
+seen in many newspapers of the present day, may be called free
+beginnings for want of a better name. These free beginnings are quite
+effective when properly handled but the novice must use them with fear
+and trembling. They may be witty or they may be sarcastic, but they are
+usually dangerous. The difference in the eight beginnings discussed
+above is mainly one of grammatical construction; the same fundamental
+ideas govern them all. Their purpose is always to play up a striking
+statement or a summary of the speech report and to give at the very
+outset the necessary explanation concerning the speech.
+
+
+THE BODY OF THE REPORT
+
+The body of the report of a speech is not so distinct from the lead as
+the body of an ordinary news story. In the news story it is safe to
+assume that many readers will not go beyond the lead, but in the report
+of a speech this is not so true. It is less possible to give the main
+facts in the lead of a speech report and the rest of the story is more
+necessary. Hence it must be written with as great care as the lead.
+
+The body of the report should consist of direct quotation in so far as
+possible. The reader is interested in what the speaker said and it is
+impossible to make a summary in indirect discourse as convincing as the
+actual quotation of his words. Be sure that the quotations are the
+speaker's exact words or very nearly his exact words, so that he cannot
+accuse you of misquoting him. The spirit of his words must be in the
+quotation, anyway.
+
+In these quotations nothing less than a complete sentence should be
+quoted. Do not patch together sentences of indirect and direct
+quotation, like the following--He said that some of us are prone to let
+things be as they are, "because the philanthropic rich help in our times
+of trouble and in sickness." Such quotation is worse than no direct
+quotation at all. Of course, this does not mean that one cannot add
+"said the speaker" to a direct quotation, but it means that "said the
+speaker" can be added only to quotations that are complete sentences.
+Furthermore whenever it is necessary to bring in "said the speaker," or
+similar expressions, they should be added at the end of the quoted
+sentence--the least emphatic part of a newspaper sentence.
+
+Obviously a condensed report of a speech can only quote sentences here
+and there throughout the speech--the high spots of interest, as we
+called them before. These must not be quoted promiscuously and
+disconnectedly. The original speech had a logical order and set forth a
+logical train of thought. These should be followed as far as possible in
+the report. Bring in the quotations in their true order and fill the
+gaps between them with indirect discourse to knit them together and to
+give the report the coherence of the original speech. But do not carry
+this indirect explanation to the extent of making your copy a report of
+the speech in indirect discourse with occasional bits of direct
+quotation to illustrate. Remember that, after all, the direct quotation
+is the truly effective part of the speech.
+
+Whenever a paragraph contains both direct and indirect quotation, the
+direct quotation should always precede the indirect. But it is much
+better to paragraph the two kinds of quotation separately, making each
+paragraph entirely of direct, or entirely of indirect, quotation. If a
+paragraph must contain both, begin it with the direct so that as the
+reader glances down the column he will see a quotation mark at the
+beginnings of most, if not all, of the paragraphs. By the same sign,
+when your notes are lacking in direct quotations, bring in as many of
+the quotations as possible at the beginning of the report and let the
+indirect summary occupy the end where it may be cut off by the editor if
+he does not wish to run it.
+
+Here is a good illustration of a part of the body of a good speech
+report--it is the second paragraph of one of the stories quoted under
+the "Speaker" beginning above:
+
+             |  "I can not account for the moral       |
+             |revolution that is sweeping over the     |
+             |South," he continued. "The sentiment     |
+             |against whisky is deeper than the mere   |
+             |desire to get it away from the black man.|
+             |That same sentiment is found in counties |
+             |that contain no negro population. People |
+             |who say that the law will not be enforced|
+             |have not been in the South.--B. T.       |
+             |Washington's speech, _Milwaukee          |
+             |Sentinel._                               |
+
+You will notice that although the above paragraph is composed entirely
+of direct quotation it has no quotation mark at the end. This is, of
+course, in accordance with the old rule of rhetoric which says that in a
+continuous quotation each paragraph shall begin with a quotation mark
+but only the last shall be closed by a quotation mark.
+
+To illustrate the errors that may be made in reporting speeches we might
+write the above paragraph as follows:
+
+
+             |  Mr. Washington continued by saying that|
+             |he could not account for the revolution  |
+             |that is sweeping over the South. "The    |
+             |sentiment against whisky is deeper than  |
+             |the mere desire to get it away from the  |
+             |black man." He says that "the same       |
+             |sentiment is found in counties that      |
+             |contain no negro population." People who |
+             |say that the law will not be enforced    |
+             |"have not been in the South," according  |
+             |to Booker T. Washington.                 |
+
+The clumsiness of this mingling of direct and indirect quotation is very
+clear, as is the weakness of beginning with an explanation that is
+really subordinate.
+
+Much more could be said about the reporting of speeches. Very few things
+will make a man so angry as the misquoting of his words. Therefore,
+whatever other faults your report of a speech may have, let it be
+accurate and truthful.
+
+
+
+
+XI
+
+INTERVIEWS
+
+
+If you compare any interview story with any speech report in any
+representative newspaper, you will readily see how a discussion of
+interviews easily becomes an explanation of the differences between
+interview stories and speech-reports; that is, how the report of an
+interview differs from the report of a public utterance of a more formal
+kind. There are few differences in the written reports. Each usually
+begins with a summary or a striking statement and consists largely of
+direct quotation. Were it not for the line or two of explanation at the
+end of the introduction, it would be practically impossible to tell the
+one from the other, to tell which of the reports sets forth statements
+made in a public discourse and which gives statements made in a more
+private way to a reporter.
+
+The difference lies behind the report, in the way the reporter obtained
+the statements and quotations. And the whole difference depends upon the
+attitude of the man who made the statements--whether his words were a
+conscious or an unconscious public utterance. When a man speaks from a
+platform he utters every sentence and every word with an idea of
+possible quotation--he is not only willing to be quoted but he wants to
+be quoted. But when he speaks privately to a reporter he usually dreads
+quotation. Of course, he expects that you will print a few of his
+remarks but he is constantly hoping that you will not remember and print
+them all. He speaks more guardedly, too, since he is not sure of the
+interpretation that may be given to his words. Hence it is a very
+different matter to report what a man says in public and to get
+statements for the press from him in private. Any one can report a
+speech but great skill is required to get a good interview--especially
+if the victim is unwilling to talk.
+
+The first matter that a reporter has to consider is the means of
+retaining the statements until he is able to write his story. It is a
+simple matter to get quotations from a speech because it is possible to
+sit anywhere in the audience and write down the speaker's words in a
+notebook as they are uttered. But the notebook must be left behind when
+you try to interview. When a man is not used to being interviewed
+nothing will make him reticent so quickly as the appearance of a
+notebook and pencil; he realizes that his words are to appear in print
+just as he utters them and he immediately becomes frightened. Ordinarily
+so long as he feels that what he says is going into the confidential ear
+of the reporter--and out of the other ear just as quickly--he is willing
+to talk more freely and openly and to say exactly what he thinks. This,
+of course, does not apply to prominent men who are used to being
+interviewed and prefer to have their remarks taken down verbatim. Such
+an interview, however, is little more than a call to secure a statement
+for publication.
+
+It might be well to settle the notebook question here and now when it
+assumes the greatest importance. The stage has hardened us to seeing a
+reporter slinking around the outskirts of every bit of excitement
+writing excitedly and hurriedly in a large leather notebook. So hardened
+are we to the sight that some new reporters buy a notebook just as soon
+as they get a place on a newspaper staff. But real reporters on real
+newspapers do not use notebooks. A few sheets of folded copy paper
+hidden carefully in an inside pocket ready for names and addresses and
+perhaps figures are all that most of them carry. Many people dread
+publicity and the appearance of a notebook frightens them into silence
+more quickly than the actual appearance of a representative of the
+press. This is true in the reporting of any bit of news, in the covering
+of any story--and it is ordinarily true in interviewing for statements
+that are to be quoted. Of course, an exception to this must be made in
+the case of some prominent men who prefer to issue signed written
+statements when they are interviewed.
+
+The impossibility of using a notebook or writing down a man's words in
+an interview seriously complicates the task of interviewing. Some
+reporters train themselves until they are able to remember their
+victim's words long enough to get outside and write them down. Others
+are satisfied with getting the ideas and the spirit of what is said
+together with the man's manner of talking. A few characteristic
+mannerisms thrown in with a true report of his ideas will make any
+speaker believe that you have quoted him exactly. Whichever method is
+pursued, the reporter must always be fair and try to tell the readers of
+the paper the man's true ideas. The exigencies of the case give the
+reporter greater liberty than in quoting from a speech but he must not
+abuse his liberty.
+
+The success of an interview depends very largely upon the way in which a
+reporter approaches the man whom he wishes to interview. It is never
+well to trust to the inspiration of the moment to start the
+conversation. The reporter must know exactly what he wishes to have the
+man say before he approaches him and must already have framed his
+questions so as to draw out the answers that he wishes. People are never
+interviewed except for a purpose and that purpose should suggest the
+reporter's first question. No matter how willing the man is to tell what
+he thinks he will seldom begin talking until the reporter asks him a
+definite question to help him in putting his thoughts into words. All of
+this should be considered beforehand. The reporter should have outlined
+a definite campaign and have a series of questions which he wishes to
+ask. If he has written the questions out beforehand, the task becomes an
+easier one--he merely fills in the answers on his list later and has the
+interview in better form than if he had tried to trust entirely to his
+memory. To be sure, the questions may open up unexpected lines of
+thought and he may get more than he went for, but he must have his
+questions ready for use as soon as each new line is exhausted. A skilled
+reporter frames the interview himself and keeps the result entirely in
+his own hands through the campaign that he has outlined beforehand.
+Unless he knows exactly what he wants to get, a wary victim may lead him
+off upon unimportant facts and in the end tell him nothing that his
+paper has sent him to get. A reporter must keep the reins of an
+interview in his own possession.
+
+A good reporter takes great care in his manner of addressing a man whom
+he is to interview. A well-known newspaper follows the rule of asking
+its reporters never to do what a gentleman would not do. A reporter who
+is trying to interview must always be a gentleman and must not ask
+questions that a gentleman would not ask. If the victim is a prominent
+man of great personality it is not hard to follow this rule--in fact, it
+is impossible to get the interview by any other method of approach. But
+when one is trying to interview a person of humbler station, the case is
+different. It is very easy then to fall into a habit of demanding
+information and turning the interview into an inquisition. But the
+reporter who keeps his attitude as a gentleman gets more real facts even
+when his victim is of the most humble social status. Therefore, never
+approach your victim as if he were a witness and you a cross-questioning
+lawyer. Do not say: "See here, you know more about it than that," and
+thus try to force unwilling information from him. Go at him in a more
+round-about way and lead him to give you the facts unwittingly perhaps.
+
+A young reporter often feels an impulse to become too personal with the
+man whom he is interviewing. He must always remember that he is not
+there for a friendly chat but as a representative of a newspaper, sent
+to get concise facts or opinions. This attitude must be maintained even
+with the humblest persons. Any desire to sympathize, criticize, or
+advise must be checked at the very start. The point of view must always
+be kept.
+
+                  *       *       *       *       *
+
+Although the main difference between writing interview stories and
+reporting speeches lies in the very act of getting the quotations and
+words of the speaker, there are certain aspects in which the writing of
+an interview story is different. The actual form of the two stories is
+almost identical and yet there is a tone in the interview story that is
+lacking in the report of a speech. This may be called the personal tone.
+
+The very name of the speaker obviously plays a much larger part in the
+interview story than in the speech report. We may be more interested in
+what a man says in a public discourse than we are in the man, but when
+we interview a man we want his opinions not for themselves so much as
+because they are his opinions. An interview with the President on the
+tariff is not necessarily interesting in the new ideas that it brings
+out, for we have many other ways of knowing the President's opinions on
+the tariff question; but the interview is worth printing because every
+one is interested in reading anything that the President says, although
+he may have read the same thing many times before. A man is seldom
+interviewed unless he is of some prominence--that is why he is
+interviewed, and so in the resulting story his name plays a very
+important part. In fact, his name is usually the feature of the story;
+most interview stories begin directly with the name of the man whose
+statements are quoted.
+
+Although a man may be interviewed simply because of his prominence and
+popularity, there is usually another reason for the interview. We are
+interested not only in hearing him say something but we wish to hear him
+say something on a certain topic. The interview thus has a timeliness, a
+reason for existence. Since this timeliness is the reason for printing a
+certain man's statements, the reporter's account must indicate that
+timeliness near the beginning. That is, the first sentence of an
+interview story must not only tell who was interviewed and the gist of
+what he said, but it must tell why he said it. The interview must be
+connected with the rest of the day's news. This comes out very
+definitely in the custom which many newspapers have of printing the
+opinions of many prominent men in connection with any important event.
+Perhaps it is because we wish to know their opinions on the subject or
+perhaps it is simply because we are glad to have a chance to hear them
+talk--at any rate many editors make any great event an excuse for a
+series of interviews. This is illustrated by the opinions of the various
+labor leaders that were printed with the story of the recent confession
+of the McNamara brothers. In such a case, the reporter must make the
+reason for the interview his starting point in the report and must
+indicate very plainly why the man was interviewed.
+
+This idea of timeliness is very often carried to the extent of making
+the interview merely a denial or an assertion from the mouth of a
+well-known man. There may be an upheaval in Wall Street. Immediately the
+papers print an interview in which some prominent financier denies or
+asserts that he is at the bottom of the upheaval. Naturally the report
+of the interview begins with the very words of the denial or the
+assertion. Very often a man when interviewed refuses to say anything on
+the subject. The fact that he has nothing to say does not mean that the
+interview is not worth reporting. In fact, that refusal to speak may be
+the most effective thing that he could say. The reporter begins by
+telling that his man had nothing to say on the subject and ends by
+telling what he should have said or what his refusal to speak probably
+means,--if the paper is not too scrupulous in such matters. At any rate,
+the denial or assertion or refusal to speak becomes the starting point
+of the report and furnishes the excuse for the interview story. The
+expanded remarks that follow the lead are of course important but they
+are not so important as the primary expression of opinion that the
+reporter went for.
+
+The personal element in interviewing may be carried to an extreme
+extent. The man who is interviewed may so far overshadow the importance
+of what he says that the report of the interview becomes almost a sketch
+of the man himself. That is, the report is filled with human interest.
+The quotations are interspersed with action and description. We are told
+how the man acted when he said each individual thing. His appearance,
+attitude, expression, and surroundings become as important as his words
+and are brought into the report as vividly as possible. Such an
+interview may become almost large enough to be used as a special feature
+story for the Sunday edition, but when the human interest is limited to
+a comparatively subordinate position the report still keeps its
+character as an interview news story. Such a thing may be illustrated
+from the daily press:
+
+             |  "I would rather have four battleships  |
+             |and need only two than to have two and   |
+             |need four."                              |
+             |                                         |
+             |  Seated in the cool library of Colonel  |
+             |A. K. McClure's summer home at           |
+             |Wallingford, Rear Admiral Winfield Scott |
+             |Schley, retired, thus expressed himself  |
+             |yesterday on the need of a larger and    |
+             |greater navy.                            |
+
+After all has been said about interviewing, the one thing that a
+reporter must remember is that an interview story is at best rather dry
+and everything that he can do to increase the interest will improve the
+interview. But all of this must be done with absolute fairness to the
+speaker and great truthfulness in the quotation of his ideas and
+opinions.
+
+                  *       *       *       *       *
+
+To come to the technical form of the interview story, we find that there
+are very nearly as many possible beginnings as in the case of the report
+of a speech. The interview story must begin with a lead that tells who
+was interviewed, when, and where, what he said (in a quotation or an
+indirect summary), and why he was interviewed. This is like the lead of
+a speech report in every particular except in the timeliness--the
+occasion for a speech is seldom mentioned in the lead, but a reporter
+usually tells at once why he interviewed the man whose words he quotes.
+
+
+=1. Speaker Beginning.=--The very purpose behind interviewing makes the
+so-called speaker beginning most common. It is almost an invariable rule
+that the report of an interview must begin with the man's name unless
+what he says is of greater importance than his name--which is seldom.
+
+The simplest form of the speaker beginning is the one in which the
+speaker's name is followed directly by a summary of what he said, as:
+
+             |  Dr. David Starr Jordan, president of   |
+             |Leland Stanford Junior University, said  |
+             |yesterday at the Holland House that in   |
+             |the development of American universities |
+             |educators must separate the lower two    |
+             |classes from the upper two, the present  |
+             |freshman and sophomore classes to be     |
+             |absorbed by small colleges or            |
+             |supplemental high schools, making the    |
+             |junior year the first in the university  |
+             |training. He said the universities should |
+             |receive only men, not boys.--_New York   |
+             |Tribune._                                |
+
+Another kind of speaker beginning may devote most of the lead to the
+explanation of the reason for the interview, giving the briefest
+possible summary of what was said: Thus:
+
+             |  Director Lang of the department of     |
+             |public safety is going to place a ban on |
+             |the playing of tennis on Sunday. He      |
+             |doesn't know just yet how he is going to |
+             |accomplish this, but yesterday he        |
+             |declared that he would find some law     |
+             |applicable to the case.--_Pittsburgh     |
+             |Gazette-Times._                          |
+
+One step further brings us to the entire exclusion of the result of the
+interview from the lead. In this case the reason for the interview
+occupies the entire lead and we must read part of the second paragraph
+to find what the man said; thus:
+
+             |  Charles F. Washburn, Richmond Hill's   |
+             |wizard of finance, promises to appear at |
+             |his broker's office in Newark, N. J.,    |
+             |this morning with a fresh bank roll,     |
+             |accumulated since the close of the market|
+             |on Saturday.                             |
+             |                                         |
+             |  (The second paragraph tells what it is |
+             |all about and the third quotes his       |
+             |words.)--_New York World._               |
+
+It is to be noted that in each of the above leads the speaker's name is
+always accompanied by a word or two telling who he is and why he was
+interviewed. Furthermore the reporter himself has no more place in the
+lead than if he were reporting a speech--his existence and the part he
+played in getting the interview are strictly ignored.
+
+
+=2. Summary Beginning.=--There are two common ways of beginning an
+interview story with a summary. First, the lead may begin with a
+_that_-clause which embodies the gist of the interview; this is like the
+_that_-clause beginning of the report of a speech; thus:
+
+             |  That the apparent apathy among the     |
+             |voters of the country is merely          |
+             |contentment with the present             |
+             |administration of affairs by the         |
+             |Republican party is the contention of    |
+             |ex-Senator John M. Thurston of Nebraska. |
+             |Mr. Thurston was at Republican national  |
+             |headquarters today, etc.--_New York      |
+             |Evening Post._                           |
+
+Secondly the summary beginning is used in the case of an interview that
+is a denial or an assertion by the man interviewed. The lead begins with
+a clause or a participial phrase embodying the substance of the
+interview, and the name of the speaker is made the subject of a verb of
+denying or asserting; thus:
+
+             |  Declaring that his office is run as    |
+             |economically as possible, Sheriff H. E.  |
+             |Franke denied on Sunday that he had      |
+             |expended more than $688 for auto hire to |
+             |collect $1,409.28 of alleged taxes.      |
+             |                                         |
+             |  (The second paragraph begins with a    |
+             |direct quotation.)--_Milwaukee Sentinel._|
+             |  Although he had sharply criticised     |
+             |Roosevelt's special message condemning   |
+             |some of the uses to which the possessors |
+             |of large fortunes are putting their      |
+             |wealth, President Jacob Gould Schurman,  |
+             |Cornell University, declined to discuss  |
+             |Roosevelt or his policies in Milwaukee   |
+             |yesterday. He said that he was not       |
+             |talking politics.                        |
+             |                                         |
+             |  (The rest of the report is a quotation |
+             |of his views on college                  |
+             |athletics.)--_Milwaukee Free Press._     |
+
+
+=3. Quotation Beginning.=--Many reports of interviews begin with a
+direct quotation. The logic of this is that the expression of opinion
+is, in some cases, of more interest than the name of the man who
+expressed the opinion. Sometimes the name of the speaker is not
+considered worth mentioning and in that case a direct quotation is the
+only advisable beginning; thus:
+
+             |  "With the prices of food for hogs and  |
+             |cattle going up, it is natural that the  |
+             |food--beef and pork--for us humans should|
+             |keep pace."                              |
+             |                                         |
+             |  This was the logic of an east-side     |
+             |butcher who discussed the probable rise  |
+             |in the prices of meat.--_Milwaukee Free  |
+             |Press._                                    |
+
+Sometimes a short quotation is used at the beginning of the lead very
+much as a title is used in a speech report; thus:
+
+             |  NEW YORK, June 1.--"A business         |
+             |proposition which should have been put in|
+             |effect nearly twenty years ago," was John|
+             |Wanamaker's comment today on the adoption|
+             |of 2-cent letter postage between the     |
+             |United States and Great Britain and      |
+             |Ireland.--_Milwaukee Free Press._        |
+
+If the quotation at the beginning consists of only one sentence the name
+of the speaker may be run into the same paragraph; thus:
+
+             |  "Judge McPherson's recent decision     |
+             |declaring Missouri's 2-cent fare         |
+             |confiscatory is an indication that vested|
+             |interests are entitled to some protection|
+             |and that legislatures must not go too far|
+             |in regulating them," said Sir Thomas     |
+             |Shaughnessy, president of the Canadian   |
+             |Pacific road, on Sunday.--_Milwaukee     |
+             |Sentinel._                               |
+
+However if the quotation at the beginning contains more than one
+sentence it is best to paragraph the quotation separately and leave the
+name of the speaker until the second paragraph; thus:
+
+             |  "The American Federation of Labor will |
+             |enter the national campaign by seeking to|
+             |place labor candidates on the tickets of |
+             |the old parties. An independent labor    |
+             |party is eventually contemplated. But    |
+             |there is not time to get results in that |
+             |way in the next national campaign."      |
+             |                                         |
+             |  So said H. C. Raasch, national         |
+             |president of the tile-layers, upon his   |
+             |return yesterday, etc.--_Milwaukee Free  |
+             |Press._                                  |
+
+
+=4. Human Interest Beginning.=--This is a designation devised to cover a
+multitude of beginnings. A human interest interview may begin with a
+quotation, a summary, a name, or an action. The aim is necessarily
+toward unconventionality and the form of the lead is left to the
+originality of the reporter. A few examples may illustrate what is meant
+by the human interest beginning:
+
+             |  "There goes another string. Drat those |
+             |strings!" Only Joseph Caluder didn't say |
+             |"Drat."                                  |
+             |                                         |
+             |  "Say, do you know that I have spent    |
+             |pretty nearly $1,000 for strings for that|
+             |violin? Well, it's a fact. Listen."      |
+             |Etc.--_Milwaukee Sentinel._              |
+
+             |  Fire Marshal James Horan never bought a|
+             |firecracker, but for many years he has   |
+             |celebrated Independence day in the thick |
+             |of fires. He never owned a gun or        |
+             |revolver. His last prayer before trying  |
+             |to snatch a little needed sleep Friday   |
+             |night will be of the twofold form,       |
+             |etc.--_Chicago Post._                    |
+
+After what has been said about the body of a speech report, there is
+little more to be said about the body of an interview story. The same
+rules apply in both cases. The body of the report should contain as much
+direct quotation as possible. However nothing less than a sentence
+should be quoted--that is, every quotation should be a complete
+sentence, with indirect explanation. Whenever "Said the speaker" or "Mr.
+Brown continued" or any similar expression is worked into the direct
+quotation it should always be placed at the end of the sentence; never
+begin a quotation in this way:--Mr. Jones continued, "Furthermore I
+would say, etc." In the same way, when a paragraph contains both direct
+and indirect quotation, the direct quotation should be placed at the
+beginning. Whenever it is possible, construct solid paragraphs of
+quotation, and solid paragraphs of summary. The report as a whole must
+have coherence and a logical sequence; for this a limited amount of
+indirect quotation may be used to fill in the gaps in the logic of the
+direct quotation.
+
+According to the usage of the best newspapers of to-day the reporter
+must never be brought into the report of an interview. His existence
+must never be mentioned although every reader knows that some reporter
+secured the interview. In the old days reporters delighted in bringing
+themselves into their stories as "representatives of the press" or "a
+reporter for the Dispatch," but that practice has gone the way of the
+reporter's leather-bound notebook. The interview may be told
+satisfactorily without a mention of the reporter; hence newspaper usage
+has put a ban on his appearance in his story.
+
+
+GROUP INTERVIEWS
+
+We have said that a man is seldom interviewed without a reason; there is
+always a timeliness in interviewing. Any unusual event of broad
+importance becomes an excuse for the editor to print the opinion of some
+prominent man on some phase of the event. Sometimes the event is of such
+importance that the editor wishes to print the opinions of several men
+on the subject; or more than one prominent man may be involved in the
+affair and the public may wish to hear the opinions of every one
+involved. In such a case when several men are interviewed in regard to
+the same event it is considered rather useless and ineffective to print
+their interviews separately and the several interview stories are
+gathered together into one story and arranged in such a way that they
+may be compared. There are several ways of doing this.
+
+If the case or event is very well known, a lead or summary of the
+several interviews is considered unnecessary and the words of the
+various men are grouped together under a single headline. This may be
+illustrated by the interviews that were printed after the confessions of
+the McNamara brothers of Los Angeles in the recent dynamiting case. The
+_Wisconsin State Journal_ may be taken as representative. This paper
+printed the statements of twelve prominent men interested in the case in
+a three-column box under a long head; thus:
+
+             |        =Leaders Discuss the Case=         |
+             |                                           |
+             |  Samuel Gompers, president American       |
+             |Federation of Labor--I am astounded; I am  |
+             |astounded; my credulity has been imposed   |
+             |upon. It is a bolt out of a clear sky.     |
+             |                                           |
+             |    *       *       *       *       *      |
+             |                                           |
+             |  John T. Smith, president Missouri        |
+             |Federation of Labor--I can not believe it. |
+             |But if the McNamaras blew up the Times     |
+             |building they should be fully punished.    |
+             |                                           |
+             |     *       *       *       *       *     |
+             |                                           |
+             |  Gen. Harrison Grey Otis, publisher of    |
+             |the Times--The result may be and ought to  |
+             |be, etc.                                   |
+
+If the case had not been of such broad interest a lead embodying a
+summary of the interviews might have preceded the individual statements.
+It might have been done in this way:
+
+             |  Great surprise has been expressed by     |
+             |the prominent labor leaders of the         |
+             |country at the confession of the           |
+             |McNamara brothers in Los Angeles           |
+             |yesterday. That organized labor had no     |
+             |connection with the work of these men and  |
+             |that they should be fully punished is the  |
+             |consensus of opinion.                      |
+             |                                           |
+             |  Samuel Gompers, president American       |
+             |Federation of Labor--I am astounded; I am  |
+             |astounded; my credulity has been imposed   |
+             |upon. It is a bolt out of a clear sky.     |
+             |                                           |
+             |  John T. Smith, president Missouri        |
+             |Federation of Labor--I can not believe it. |
+             |Etc.                                       |
+
+In such a story as the above, the statements are usually printed without
+quotation marks; each paragraph begins with a man's name, followed by a
+dash and what he said. The grouping together of several interviews is
+often done less formally. The whole thing may be written as a running
+story, and sometimes the names of the persons interviewed are omitted;
+thus:
+
+             |  Proprietors of the big flower shops,    |
+             |the places from which blossoms are        |
+             |delivered in highly polished and ornate   |
+             |wagons, drawn by horses that might win    |
+             |blue ribbons, and where, in the proper    |
+             |season, a single rose costs three         |
+             |dollars, do not approve of the comments   |
+             |made by a dealer who recently failed.     |
+             |Among these sayings was one to the effect |
+             |that young millionaires spend a thousand  |
+             |dollars a week on flowers for chorus      |
+             |girls who earn twelve dollars a week, and |
+             |who sometimes take the flowers back to    |
+             |the shop to exchange them for money to    |
+             |buy food and clothes.                     |
+             |                                          |
+             |  "That's all nonsense," said one dealer. |
+             |(This paragraph is devoted to his opinion |
+             |on the matter.)                           |
+             |                                          |
+             |  "We have enough trouble in this         |
+             |business," said another dealer, "without  |
+             |having this silly talk given to the       |
+             |public." (This paragraph gives this       |
+             |dealer's opinion)--_New York Evening      |
+             |Post._                                    |
+
+(Each paragraph is devoted to a single interview.)
+
+The same paragraph may be done with more local color as in the
+following:
+
+             |  Chinatown feels deeply its bereavement   |
+             |in the deaths of the Empress Dowager and   |
+             |the Emperor of China. Chinatown mourns,    |
+             |but it does so in such an unobtrusive      |
+             |Oriental way that the casual visitor on    |
+             |sympathy bent may feel that his words of   |
+             |condolence would be misplaced.             |
+             |                                           |
+             |  A reporter from this paper was assigned  |
+             |yesterday to go up to Chinatown and in as  |
+             |delicate a way as possible to gather some  |
+             |of the sentiments of appreciation of the   |
+             |merits of Kuang-hsu and his lamented aunt, |
+             |Tzu-hsi. He was told that he might write a |
+             |little about the picturesque though        |
+             |nevertheless sincere expressions of        |
+             |mourning that he might observe in Pell     |
+             |and Mott streets.                          |
+             |                                           |
+             |  Mr. Jaw Gum, senior partner in the firm  |
+             |of Jaw Gum & Co., importers of cigars,     |
+             |cigarettes, dead duck's eggs and Chinese   |
+             |delicatessen, of 7 Pell street, was at     |
+             |home. Mr. Gum was approached.              |
+             |                                           |
+             |  "We would like to learn a little about   |
+             |the arrangements that are being made by    |
+             |the Chinese to indicate their sorrow at    |
+             |the deaths of their beloved rulers."       |
+             |                                           |
+             |  "What number?" queried Mr. Gum. The      |
+             |question was repeated.                     |
+             |                                           |
+             |  "P'licyman, he know," remarked Mr. Gum   |
+             |sagely.                                    |
+             |                                           |
+             |  (So on for a column with interviews and  |
+             |statements from several of Mr. Gum's       |
+             |neighbors.)--_New York Sun._               |
+
+But this is very much like a human interest story--the reporter takes
+part in it--and we shall discuss that later.
+
+
+
+
+XII
+
+COURT REPORTING
+
+
+Probably few classes of news stories present such a lack of uniformity
+and such a variety of treatments as the reports of court news. Legal
+stories belong to one of the few sorts of stories that do not tend to
+become systematized. But there is a reason for almost everything in a
+newspaper and there is also a reason for the freedom that reporters are
+allowed in reporting testimony. The reason in this case is probably in
+the fact that very rarely do two court stories possess the same sort of
+interest or the same news value.
+
+We have seen that reports of speeches are printed in the daily press
+because our readers are interested in the content of the speech or in
+the man who uttered it. In the same way, our readers are interested in
+interviews because of the man who was interviewed, because of their
+content, or because of their bearing on some current event. On the other
+hand there is an infinite number of reasons why a court story is worth
+printing or why it may not be worth a line. Sometimes the interest is
+in the persons involved; sometimes in the significance of the decision.
+People may also be interested in a case because of its political or
+legal significance or merely because of the sensational testimony that
+is given. And again a very trivial case may be worth a large amount of
+space in the daily paper just because of its human interest--because of
+the pathos or humor that the reporter can bring into it. Thus the
+resulting reports are hard to classify. Each one depends on a different
+factor for its interest and each must be written in a different way so
+that its individual interest may be most effective. However there are
+general tendencies in the reporting of court news.
+
+The news itself is comparatively easy to get. In a large city every
+court is watched every day by a representative of the press, either a
+reporter for an individual paper or for a city news gathering
+association. In some cities where there is no independent news gathering
+agency papers sometimes club together to keep one reporter at each
+court. The man who is on duty must watch all day long for cases that are
+of interest for one reason or another. Even with all this safeguarding
+sometimes an important case slips by the papers; often the reporter on
+duty considers of little interest a case that is worth columns when
+some paper digs into it. Every reporter however who is trying to do
+court reporting should learn the ordinary routine of legal proceedings;
+for example, the place and purpose of the pleas, the direct and cross
+examination of witnesses, and other legal business.
+
+As we shall see when we begin to write court reports, it is necessary to
+exercise every possible trick to put interest into the story. In the
+actual court room all that relieves the dreary monotony of legal
+proceedings is an occasional bit of interesting testimony. And when the
+reporter tries to report a case he sometimes finds that interesting
+testimony is all that will lighten up the dull monotony of his story.
+Therefore while he is listening to a case he tries to get down verbatim
+a large number of the interesting questions and answers. Or if he is
+unable to be present he tries to get hold of the court stenographer's
+record to copy out bits of testimony for his account. Beyond this
+recording of testimony there is really little difficulty in court
+reporting except the difficulty of separating the interesting from the
+great mass of uninteresting matter.
+
+As to the actual writing of the report of a legal trial, the one thing
+that the reporter must remember is that a case is seldom reported for
+the public's interest in the case itself. There is usually some other
+reason why the editor wants a half a column of it. That reason is the
+thing that the reporter must watch for and when he finds it he must make
+it the feature of his report to be embodied in the first line of the
+lead.
+
+When we try to play up the most interesting feature of a court report we
+find that we must fall back upon the same beginnings that we used in
+reporting speeches and interviews. There are several possible ways of
+beginning such a story, depending upon the phase of the case or its
+testimony that is of greatest importance.
+
+
+=1. Name Beginning.=--The proper name beginning is very common. It is
+always used when any one of prominence is involved in the story or when
+the name, although unknown, can be made interesting in itself--as in a
+human interest story. The name is usually made the subject of the verb
+testified, as in this lead:
+
+             |  A. F. Law, secretary of the Temple Iron |
+             |Company, a subsidiary company of the      |
+             |Reading Coal and Iron Company, called     |
+             |before the government investigation of    |
+             |the alleged combination of coal carrying  |
+             |roads, testified today in the Federal     |
+             |building that four roads had contributed  |
+             |$488,000 to make up the deficit of the    |
+             |Temple company during three years of coal |
+             |strikes.--_New York Sun._                 |
+
+The name of a well-known company often makes a good beginning:
+
+             |  The Standard Oil Company sent a         |
+             |sweeping broadside into the Government's  |
+             |case yesterday at the hearing in the suit |
+             |seeking to dissolve the Standard Oil      |
+             |Company of New Jersey under the Sherman   |
+             |anti-trust law, when witnesses began to   |
+             |tell of the character of a number of men  |
+             |the Government had placed upon the        |
+             |witness stand.--_New York Times._         |
+
+The name of the judge himself may be used in the first line:
+
+             |  Judge Mulqueen of General Sessions      |
+             |explained today why he had sentenced two  |
+             |prisoners to "go home and serve time with |
+             |the families." This punishment was        |
+             |imposed yesterday when both men pleaded   |
+             |drunkenness as their excuse for trivial   |
+             |offenses.--_New York Evening Post._       |
+
+
+=2. Continued Case Beginning.=--Many court reports begin with the name
+of the case when the case has been running for some time and is well
+known. Each individual story on such a case is just a continuation of a
+sort of serial story that has been running for some time and in the lead
+each day the reporter tries to summarize the progress that has been
+made in the case during the day's hearing. However each story, like a
+follow-up story, is written in such a way that a knowledge of previous
+stories is not necessary to a clear understanding:
+
+             |  The hearing yesterday in the            |
+             |Government's suit to dissolve the         |
+             |Standard Oil Company ended with a         |
+             |dramatic incident. Mr. Kellogg sought to  |
+             |show that the Standard compelled a widow, |
+             |Mrs. Jones, of Mobile, Ala., to sell out  |
+             |her little oil business at a ruinous      |
+             |sacrifice.--_New York World._             |
+
+In some cases this sort of a lead begins with the mere mention of the
+continuing of the trial:
+
+             |  At the opening of the defence today in  |
+             |the sugar trials before Judge Martin of   |
+             |the United States Circuit Court, James F. |
+             |Bendernagal took the witness chair in his |
+             |own behalf, etc.--_New York Evening       |
+             |Post._                                    |
+
+
+=3. Summary Beginning.=--The lead of a court report often begins with a
+brief summary of the result of the trial or of the day's hearing:
+
+             |  What the Government has characterized  |
+             |as "unfair competition and               |
+             |discrimination" on the part of the       |
+             |Standard Oil Company continued to be the |
+             |subject of the investigation of that     |
+             |corporation today before Franklin Ferris |
+             |of St. Louis, referee, in the Custom     |
+             |House.--_New York Evening Post._         |
+
+The summary may be presented in as formal a way as the _that_-clause
+beginning which we used in reports of speeches:
+
+             |  That the Adams' Express Company's       |
+             |business in New England in 1909 yielded a |
+             |profit representing 45 per cent. on the   |
+             |investment, including real estate and,    |
+             |excepting real estate, a net income of    |
+             |more than 83 per cent., came out in the   |
+             |course of the hearing before the          |
+             |Interstate Commerce Commission,           |
+             |etc.--_New York Evening Post._            |
+
+
+=4. Direct Quotation Beginning.=--A direct quotation of some striking
+statement made by the judge, by a lawyer, by a witness, or by any one
+connected with the trial may be used at the beginning of the lead. Here
+is a lead beginning with a quotation from the title of a case:
+
+             |  "Captain Dick and Captain Lewis,        |
+             |Indians, for and on behalf of the Yokayo  |
+             |tribe of Indians, vs. F. C. Albertson, T. |
+             |J. Weldon, as administrator of the estate |
+             |of Charley, Indian, deceased, Minnehaha,  |
+             |Ollagoola, Hiawatha, Wanahana,            |
+             |Pocahontas, etc."                         |
+             |                                          |
+             |  So runs the title of as unusual a case  |
+             |as jurists, etc.--_San Francisco          |
+             |Examiner._                                |
+
+
+=5. Human Interest Beginning.=--The human interest beginning is a more
+or less free beginning which may be used in the reporting of rather
+insignificant cases which are of value only for the human interest in
+them. The beginning is capable of almost any treatment so long as it
+brings out the humor, beauty, or pathos of the situation. Sometimes the
+story begins with a rather striking summary of the unusual things that
+came out in the testimony, as in this case:
+
+             |  How suddenly and how radically a woman  |
+             |can exercise her inalienable prerogative  |
+             |and change her mind is shown in the       |
+             |testamentary disposition made of her      |
+             |estate by Mrs. Jennie L. Ramsay. She made |
+             |a will on July 4 last, at 3 o'clock in    |
+             |the afternoon, leaving her property to    |
+             |her husband, and at 7 o'clock in the      |
+             |evening of the same day she made another  |
+             |will in which she took the property away  |
+             |from her husband.--_New York Times._      |
+
+Here is an interesting illustration of the use of a trivial incident as
+the basis for a humorous lead:
+
+             |  Bang, an English setter dog, accused of |
+             |biting 11-year-old Sophie Kahn, made an   |
+             |excellent witness in the City Court today |
+             |when his owner, Hirman L. Phelps, a real  |
+             |estate dealer of the Bronx, appeared as   |
+             |defendant in a damage suit brought by the |
+             |girl for $2,000.--_New York Evening       |
+             |Post._                                    |
+
+The lead of a report of legal proceedings is very much like the lead of
+a report of a speech or an interview. It always begins with the most
+interesting fact in the case and briefly summarizes the result of the
+trial or the day's hearing. It is to be noted that the lead of such a
+story always includes a designation of the court in which the hearing
+was held and usually the name of the judge and of the case.
+
+After the lead is finished a court report usually turns into a running
+story of the evidence as it was presented. This may be condensed into a
+paragraph, giving the reader merely the point of the day's hearing, or
+it may be expanded into several columns following the testimony more or
+less closely. In form, it is very much like the summary paragraphs in
+the body of a speech report. The result is usually more or less dry and
+reporters often resort to a means, similar to dialogue in fiction, to
+lighten it up. Some of the more important testimony is given verbatim
+interspersed with indirect summaries of the longer or less important
+speeches. Its presentation usually follows the ordinary rules of
+dialogue. Here is an extract from such a story:
+
+             |  After describing himself as a breeder   |
+             |of horses, Gideon said that he was a      |
+             |member of the Metropolitan Turf           |
+             |Association, the bookmakers'              |
+             |organization, but had never been engaged  |
+             |in bookmaking. He did not know where      |
+             |"Eddie" Burke, "Tim" Sullivan (not the    |
+             |politician), or any of the other missing  |
+             |"bookies" could be found.                 |
+             |                                          |
+             |  "You are a member of the executive      |
+             |committee of the Metropolitan Turf        |
+             |Association?" asked Isidor J. Kresel,     |
+             |assistant counsel of the committee.       |
+             |                                          |
+             |  "Yes."                                  |
+             |                                          |
+             |  "Now, what did your committee do in     |
+             |1908, when the anti-race track legislation|
+             |was pending?"                             |
+             |                                          |
+             |  "I don't know."                         |
+             |                                          |
+             |    *       *       *       *       *     |
+             |                                          |
+             |  "How much did you pay in 1908?"         |
+             |                                          |
+             |  "Two hundred and fifty dollars."        |
+             |                                          |
+             |  "To whom?"                              |
+             |                                          |
+             |  "Mr. Sullivan."                         |
+             |                                          |
+             |  "What for?"                             |
+             |                                          |
+             |  "Death assessments."                    |
+             |                                          |
+             |  Gideon said that the little he knew of  |
+             |the doings of the "Mets" was from         |
+             |conversation with the bookies. Etc.,      |
+             |etc.--_New York Evening Post._            |
+
+Sometimes this direct testimony is given, not in the dialogue form, but
+as questions and answers. Thus:
+
+             |  In reply to other questions,            |
+             |Bendernagel said he ordered the office    |
+             |supplies, looked after the insurance on   |
+             |the sugar, and was responsible for the    |
+             |fuel, some 700 tons of coal a day.        |
+             |                                          |
+             |  Question.--How much money was paid      |
+             |through your office in the course of a    |
+             |year? Answer.--Four million dollars.      |
+             |                                          |
+             |  Q.--So yours was a busy office?         |
+             |  A.--Exceedingly so.                     |
+             |                                          |
+             |  Q.--How long were the raw sugar clerks  |
+             |in your office? A.--About twenty years.   |
+             |Etc., etc.--_New York Evening Post._      |
+
+Some papers would arrange these questions and answers differently,
+paragraphing each speech separately as in dialogue:
+
+             |  Question.--Did you regulate their       |
+             |duties in any way?                        |
+             |                                          |
+             |  Answer.--No.                            |
+             |                                          |
+             |  Q.--Were you connected with the docks?  |
+             |                                          |
+             |  A.--No; that was a separate department. |
+             |It had its own forces, and they worked    |
+             |under Mr. Spitzer. He had entire charge.  |
+             |Etc., etc.                                |
+
+
+The court records take cognizance only of the actual words uttered in
+the testimony, but a newspaper reporter never fails to record any action
+or movement that indicates something beyond the words. Very often action
+is brought in merely for its human interest; thus:
+
+             |  "How long has it been since you have    |
+             |had a maid?" asked Mr. Shearn sadly.      |
+             |                                          |
+             |  "Not for some time," she said. "Away    |
+             |back in 1907, I think."                   |
+             |                                          |
+             |  "What did it cost you for two rooms and |
+             |bath at the Hotel Belmont, where you lived|
+             |last year?"                               |
+             |                                          |
+             |  "About $300 a week altogether. The rooms|
+             |cost $20 a day."                          |
+             |                                          |
+             |  There were tears in her eyes when she   |
+             |explained that she could no longer afford |
+             |to keep up her own automobile. Etc., etc. |
+             |--_Milwaukee Free Press._                 |
+
+This sort of dialogue is dangerous and may easily be overworked, but it
+is very often extremely effective. One word like "sadly," above, may
+convey more meaning than many lines of explanation.
+
+                  *       *       *       *       *
+
+These quotations are usually interspersed with paragraphs which
+summarize the unimportant intervening testimony. The running story
+attempts to follow the progress of the hearing in greater or less
+detail, depending upon the space given to the story, just as a speech
+report attempts to follow a public discourse. Dry and unimportant facts
+are briefly summarized, interesting parts of the testimony are quoted in
+full. The running story is usually written while the hearing is in
+session or taken from a stenographic report of the hearing. After the
+running story has been completed, the reporter prepares a lead for the
+beginning to summarize the results or to play up the most significant
+part of the story. If the running story is short a lead of one paragraph
+is sufficient, but if it is long, the lead may be expanded into several
+paragraphs.
+
+
+
+
+XIII
+
+SOCIAL NEWS AND OBITUARIES
+
+
+The study of newspaper treatment of social news is a broad one. Every
+newspaper has its own system of handling social news and the general
+tendencies that are to be noted deal rather with the facts that are
+printed than with the manner of treatment. Every newspaper gives
+practically the same facts about a wedding but each individual newspaper
+has a method of its own of writing up those facts. One thing that is
+always true of social news reporting is that the amount of space given
+to social items varies inversely with the importance of the newspaper
+and the size of the city in which it is printed. A little country weekly
+or semi-weekly in a small town does not hesitate to run two columns or
+more on Sadie Smith's wedding. The report runs into minute details and
+anecdotes that all of the "Weekly's" readers know before the paper
+arrives. But the editor prints everything he can find or invent simply
+because all of his readers are more or less personally connected with
+the affair and are anxious to see their names in print and to read about
+themselves. The liberty that such an editor gives himself is of course
+impossible in a larger paper.
+
+On the other hand, a daily in a city of average size would reduce such a
+story to a stickful and a metropolitan daily would run only a one-line
+announcement in the "List of marriages," unless the story was especially
+interesting. The same thing applies to all social stories. Some
+metropolitan newspapers do not run social news at all.
+
+All of this is true because social news is governed by the same
+principles that regulate all news values. Unless a society event has
+some feature that is interesting impersonally--that is, of interest to
+readers who do not know the principals of the event--it is of value only
+as a larger or smaller number of the paper's readers are personally
+connected with the event. Hence in a small town where every one knows
+every one else, society news is of great value. In a large city a very
+small proportion of the readers are connected with the social items that
+the paper has to print and are therefore not interested in
+them--accordingly the newspaper either cuts them down to a minimum of
+space or does not run them at all.
+
+Therefore in our study society news falls into two classes: social items
+that are of interest only in themselves to persons connected with the
+events; and big society stories or unusual social events that are of
+interest to readers who are not acquainted with the principals.
+
+
+=1. Weddings.=--The wedding story reduced to its lowest terms in a
+metropolitan paper consists of a one-line announcement in the list of
+"Marriages" or "Marriage Licenses"; thus:
+
+             |  SMITH-JONES--Feb. 14, Katherine Jones   |
+             |to Charles C. Smith.--_New York Times._   |
+
+If the paper runs a few columns of social news and the persons concerned
+in the wedding are of any importance socially, the wedding may be given
+a stickful. Such an account would confine itself entirely to names and
+facts and would be characterized by very decided simplicity and brevity.
+Usually nothing more would be given than the names and address of the
+bride's parents, the bride's first name, the groom's name, the place,
+and the name of the minister who officiated. Occasionally the name of
+the best man and a few other details are added, but never does the story
+become personal. It is interesting only to those who know or know of the
+persons concerned.
+
+For example:
+
+             |                SMITH-JONES               |
+             |                                          |
+             |The marriage of Miss Katherine M. Jones,  |
+             |elder daughter of Mr. and Mrs. Randolph   |
+             |Jones, 253 Ninth street, and Charles C.   |
+             |Smith was celebrated at 4 o'clock         |
+             |yesterday afternoon at the First Methodist|
+             |Church, 736 Grand avenue. Rev. William    |
+             |Brown, rector of the church, performed the|
+             |ceremony.                                 |
+
+It will be noted that in the above story the name of the bride is
+written out in full, "Miss Katherine M. Jones." Many newspapers,
+however, would simply give her first name, thus: "Katherine, elder
+daughter of Mr. and Mrs. Randolph Jones."
+
+If the above wedding were of greater importance more details might be
+given. These would include the attendants, descriptions of the gowns of
+the bride and her attendants, the guests from out of town, music,
+decorations, the reception, and perhaps some of the presents. Sometimes
+the wedding trip and an announcement of when and where the couple will
+be at home are added. The above story might run on into detail something
+like this:
+
+             |  Miss Jones, who was given in marriage   |
+             |by her father, wore a white satin gown    |
+             |trimmed with Venetian point lace, and her |
+             |point lace veil, a family heirloom, was   |
+             |caught with orange blossoms. She carried  |
+             |a bouquet of white sweet peas and lilies  |
+             |of the valley. Miss Dorothy Jones, a      |
+             |sister of the bride, who was maid of      |
+             |honor, wore a gown of green chiffon over  |
+             |satin, with lingerie hat, and carried     |
+             |sweet peas. Douglas Jackson was the best  |
+             |man and the ushers were Dr. John B.       |
+             |Smith, Samuel Smith, Gordon Hunt, Rodney  |
+             |Dexter, Norris Kenny, and Arthur          |
+             |Johnston. A reception followed the        |
+             |ceremony at the home of the bride's       |
+             |parents.                                  |
+
+This is probably as long a story as any average paper would run on any
+wedding, unless the wedding had some striking feature that would make
+the story of interest to readers who did not know the principals. Note
+in the foregoing story the simplicity and impersonal tone. There is a
+wealth of facts but there is no coloring. This tone should characterize
+every society story. A list of out-of-town guests might have been added,
+but as often that would be omitted. In some cases the last sentence
+might be followed by an announcement like this:
+
+             |  The bride and bridegroom have gone on a |
+             |wedding tour of the West; after April 1   |
+             |they will be at home at 76 Kimbark        |
+             |avenue.                                   |
+
+In this connection the young reporter should note the distinctions in
+meaning of the various words used in a wedding story. For instance, he
+should consult the dictionary for the exact use of the verbs "to marry"
+and "to wed"--he should know who "is married," who "is married to," and
+who "is given in marriage," etc. He should also know the difference
+between a "marriage" and a "wedding."
+
+
+=2. Wedding Announcements.=--Wedding announcements are run in the social
+columns of many papers. These items contain practically the same facts
+that we find in the story written after the wedding, except, of course,
+that the reporter cannot dilate on decorations, and must stick to facts.
+These facts usually consist of the names of the couple, the names of the
+bride's parents, and the time and the place of the wedding. Additionally
+the reporter may give the minister's name, the names of the maid of
+honor and of the best man, the reception or breakfast to follow, and
+where the couple will be at home.
+
+             |  The wedding of Miss Gladys Jones and   |
+             |Richard Smith will take place on         |
+             |Wednesday evening in All Angels' Church. |
+             |The bride is a daughter of Mrs. Charles  |
+             |Jones, who will give a bridal supper and |
+             |reception afterward at her home.         |
+
+There are of course many other ways to begin the announcement. "Miss
+Mary E. MacGuire, daughter of, etc."; "Invitations have been issued for
+the wedding of Miss, etc."; "One of the weddings on for Tuesday is that
+of Miss, etc."; "Cards are out for the wedding on Saturday of Miss,
+etc."; and many others. In each case the bride's name has the place of
+importance.
+
+
+=3. Announcements of Engagements.=--Announcements of engagements are
+usually even briefer than wedding announcements. The item consists
+merely of one sentence in which the young lady's mother or parents make
+the announcement with the name of the prospective groom.
+
+             |  Mrs. Russell D. Jones of 45 Ninth      |
+             |street announces the engagement of her   |
+             |daughter, Natalie, to John MacBaine      |
+             |Smith.                                   |
+
+The item may also begin "Mr. and Mrs. X. X. So-and-So announce, etc.,"
+or simply "Announcement is made of the engagement of Miss Stella Blank,
+daughter of, etc."
+
+
+=4. Receptions and Other Entertainments.=--If a paper is to keep up in
+society news, it must report many social entertainments. However, such
+events are treated by large dailies as simply, briefly, and impersonally
+as possible. Such a story, like the report of a wedding, consists merely
+of certain usual facts. The name of the host or hostess, the place, the
+time, and the special entertainments are of course always included.
+Sometimes the occasion for the event, the guests of honor, and a
+description of the decorations are added,--also the names of those who
+assisted the hostess.
+
+             |  Mrs. James Harris Jones gave a          |
+             |reception yesterday at her home, 136      |
+             |Fifth street, for her daughter, Miss      |
+             |Dorothy Jones. In the receiving line were |
+             |Miss Marjorie Smith, Miss, etc. * * The   |
+             |reception was followed by an informal     |
+             |dance.                                    |
+
+If the event is held especially for debutantes, the fact is noted at the
+very start. "A number of debutantes assisted in receiving at a tea given
+by, etc."; "The debutantes of the winter were out in force, etc."
+
+Such a story is usually followed by a list of guests, a list of
+out-of-town guests, a list of subscribers, or something of the sort.
+Ordinarily the list is not tabulated but is run in solid, thus:
+
+             |  The guests were: Miss Kathleen Smith,  |
+             |Miss Georgia Brown, etc.                 |
+
+Very often the names are grouped together, thus:
+
+             |  The guests were: The Misses Kathleen   |
+             |Smith, Georgia Brown; Mesdames Robert R. |
+             |Green, John R. Jones; and the Messrs.    |
+             |George Hamilton, Francis Bragg, etc.     |
+
+The number of variations in such stories is limited only by the
+ingenuity of the people who are giving such entertainments. But in each
+case the reporter learns to give the same facts in much the same order.
+And he gives them in an uncolored, impersonal way that makes the items
+interesting only to those who are directly connected with them. The
+story may vary from a single sentence to half a column, but it always
+begins in the same way and elaborates only the same details. Before
+trying to write up social entertainments, a reporter should always be
+sure of the use of the various words he employs--"chaperon,"
+"patroness," etc. For instance, can we say that "Mr. and Mrs. Smith
+acted as chaperons"?
+
+
+=5. Social Announcements.=--Social announcements of any kind are
+usually, like the wedding and engagement announcements, confined to a
+single sentence. They tell only the name of the host and hostess, the
+name of the guest of honor or the occasion for the event, the time, and
+the place. Thus:
+
+             |  Mrs. Charles P. Jones will give a dance|
+             |this evening at her home, 181 Nineteenth |
+             |street, to introduce her sister, Miss    |
+             |Elsie Holt.                              |
+
+A study of the foregoing sections on society stories shows how
+definitely a reporter is restricted in the facts that he may include in
+his social items--how conventional social stories have become. This very
+restraint in the matter of facts makes it the more necessary for a
+reporter to exercise his originality in the diction of social items. He
+must guard against the use of certain set expressions, like
+"officiating," "performed the ceremony," and "solemnized." While
+restricted in the facts that he may give, he must try to present the
+same old facts in new and interesting ways--he may even resort to a
+moderate use of "fine writing," if he does not become florid or
+frivolous.
+
+
+=6. Unusual Social Stories.=--Just as soon as any of these stories
+contains a feature that is of interest to the general public in an
+impersonal way it leaves the general class of social news and becomes a
+news story to be written with the usual lead. Even the presence of a
+very prominent name will make a news story out of a social item. For
+instance, the wedding of Miss Ethel Barrymore was written by many papers
+as a news story. On the other hand, an unusual marriage, an unusual
+elopement, or anything unusual and interesting in a wedding gives
+occasion for a news story. Here is one:
+
+             |  Because their 15-year-old daughter,    |
+             |Sarah, married a man other than the one  |
+             |they had chosen, who is wealthy, Mr. and |
+             |Mrs. Markovits of 3128 Cedar street have |
+             |gone into deep mourning, draped their    |
+             |home in crepe and announced to their     |
+             |friends that Sarah is                    |
+             |dead.--_Philadelphia Ledger._            |
+
+Or the story may be handled in a more humorous way, thus:
+
+             |  There is really no objection to him,   |
+             |and she is quite a nice young woman, but |
+             |to be married so young, and to go on a   |
+             |wedding journey with $18 in their        |
+             |purses--but Wallace Jones, student of the|
+             |Western University, and Ruth Smith,      |
+             |student in the McKinley High School,     |
+             |decided it was too long a time to wait,  |
+             |and a nice old pastor gentleman in St.   |
+             |Joe has made them one.--_Milwaukee Free  |
+             |Press._                                  |
+
+
+=7. Obituaries.=--Like many other classes of newspaper stories, the
+obituary has developed a conventional form which is followed more or
+less rigidly by all the papers of the land. Every obituary follows the
+same order and tells the same sort of facts about its subject. It begins
+with a brief account of the deceased man's death, runs on through a very
+condensed account of the professional side of his life and ends with the
+announcement of his funeral or a list of his surviving relatives.
+
+The lead is concerned only with his death, answering the usual
+questions about _where_, _how_, and _why_, and is written to stand alone
+if necessary. It ordinarily begins with the man's full name, because of
+course the name is the most important thing in the story, and then tells
+who he was and where he lived. This is followed, perhaps in the same
+sentence, by the time of his death, the cause, and perhaps the
+circumstances. Thus:
+
+             |  CAMBRIDGE, Mass., Nov. 25.--Dr. John H.|
+             |Blank, professor of Greek at Harvard     |
+             |since 1887 and dean of the Graduate      |
+             |School since 1895, died at his home in   |
+             |Quincy street today from heart trouble.  |
+             |Professor Blank was an authority on      |
+             |classical subjects.--_New York Tribune._ |
+
+This, as you see, might stand alone and be complete in itself. Many
+obituaries, however, add another paragraph after the lead in which the
+circumstances of the death are discussed in greater detail. Here is the
+second paragraph of another obituary:
+
+             |  At 8:30 tonight Mr. Blank was walking  |
+             |with his wife on the veranda of the      |
+             |Delmonte Hotel, when he suddenly gasped  |
+             |as if in great pain and fell to the      |
+             |floor. He was carried inside, but was    |
+             |dead before the physicians reached his   |
+             |bedside. Apoplexy is said to have been   |
+             |the cause.                               |
+
+Next comes the account of the deceased man's life. It is told very
+briefly and impersonally and concerns itself chiefly with the events of
+his business or professional activities. It is but a catalogue of his
+achievements and the dates of those achievements. These facts are
+usually obtained from the file of biographies--called the morgue--which
+most newspapers keep. The account first tells when and where he was born
+and perhaps who his parents were. Next his education is briefly
+discussed. Then the chief events of his professional or business life.
+The date of his marriage and the maiden name of his wife are included
+somewhere in or at the end of this account. Usually a list of the
+organizations of which the man was a member and a list of the books
+which he had written are attached to this account. One of the foregoing
+obituaries continues as follows:
+
+             |  He was born in Urumiah, Persia, on     |
+             |February 4, 1852, being the son of the   |
+             |Rev. Austin H. Blank, a missionary. He   |
+             |was graduated from Dartmouth in 1873, and|
+             |that college awarded him the degrees of  |
+             |A. M. in 1876 and LL.D. in 1901. From    |
+             |1876 to 1878 he studied at Leipzig       |
+             |University. He was assistant professor of|
+             |ancient languages at the Ohio            |
+             |Agricultural and Mechanical College from |
+             |1873 to 1876, associate professor of     |
+             |Greek at Dartmouth from 1878 to 1880,    |
+             |and dean of the collegiate board and     |
+             |professor of classical philology at Johns|
+             |Hopkins in 1886 and 1887. In 1906 and    |
+             |1907 he served as professor in the       |
+             |American School of Classical Studies in  |
+             |Athens.                                  |
+             |                                         |
+             |  (Then follows a list of the            |
+             |organizations of which he was a member   |
+             |and the periodicals with which he was    |
+             |connected.)                              |
+             |                                         |
+             |  He married Miss Mary Blank, daughter of|
+             |the president of Blank College, in 1879, |
+             |and she survives him.                    |
+             |--_New York Tribune._                    |
+
+The obituary usually ends with a list of surviving relatives--especially
+children and very often the funeral arrangements are included. This is
+the last paragraph of another obituary:
+
+             |  His first wife, Mary V. Blank, died in |
+             |1872. Three years later he married Mrs.  |
+             |Sarah A. Blank, of Hightstown, N. J., who|
+             |with four daughters, survives him. The   |
+             |funeral will be held tomorrow at 11:30   |
+             |o'clock. The burial will be in the family|
+             |plot in Greenwood Cemetery.              |
+
+This is the standard form of the obituary which is followed by most
+daily newspapers in fair-sized cities. The form is characterized by an
+extreme conciseness and brevity and an absolutely impersonal tone. Very
+rightly, an obituary is handled with a sense of the sanctified
+character of its subject It offers no opportunity for fine writing or
+human interest; it simply gives the facts as briefly and impersonally as
+possible.
+
+
+
+
+XIV
+
+SPORTING NEWS
+
+
+Division of labor on the larger American newspapers has made the
+reporting of athletic and sporting events into a separate department
+under a separate editor. The pink or green sporting sheets of the big
+papers have become separate little newspapers in themselves handled by a
+sporting editor and his staff and entirely devoted to athletic news,
+except when padded out with left-over stories from other pages. Although
+on smaller papers any reporter may be called upon to cover an athletic
+event, in the cities such news is handled entirely by experts who are
+thoroughly acquainted with all phases of the athletic sports about which
+they write. The stories on the pink sheet enjoy the greatest
+unconventionality of form to be seen anywhere in the paper except on the
+editorial page. And yet, because athletic reporters are usually men
+taken from regular reporting and because the same ideas and necessities
+of news values govern the sporting pages, athletic stories follow, in
+general, the usual news story form.
+
+One may expect to find under the head of sports almost any news that is
+any way connected with college, amateur, or professional athletics. The
+stories include accounts of baseball and football games, rowing, horse
+racing, track meets, boxing, and many other forms of sport, as well as
+any discussions or movements growing out of these sports. Many of the
+stories are only a few lines in length while others may cover a column
+or more. But in general each one has a lead which answers the questions
+_when?_ _where?_ _how?_ _who?_ and _why?_ and runs along much like an
+ordinary news story. For, after all, even athletic stories are written
+to attract and to hold the reader's interest whether or not he is
+directly interested in the sport under discussion. Any reporter who is
+called upon to cover an athletic event is safe in writing his story in
+the usual news story form.
+
+As it would be impossible to discuss all the various stories that come
+under the head of athletic news, the reporting of college football games
+will be taken as typical of the others. The rules that are suggested for
+the reporting of football games may be applied to baseball games, track
+meets, and other sporting events. The same principles govern all of
+them and the stories usually summarize results in about the same way.
+Football stories may be divided into three general classes: the brief
+summary story of a stickful or a trifle more; the usual football story
+of a half column or less; and the long story that may be run through a
+column or more, depending upon the importance of the game.
+
+All three of these stories are alike in the general facts which they
+contain; they differ only in the number of minor details which they
+include in the elaboration of these general facts. Each one tells in the
+first sentence what teams were competing, the final score, when and
+where the game was played, and perhaps some striking feature of the
+game--the weather, the conditions of the field, the star players, or a
+sensational score. After that, with more or less expansion, each of the
+stories gives the essential things that the reader wants to know about
+the game. These consist usually of the way in which the scoring was
+done, a comparison of the playing of the teams, a list of the star
+players, the weather conditions, and the crowd. If the writing of the
+story includes a discussion of each of these points in more or less
+detail, the game will be covered in all of its essential phases. The
+three kinds of stories differ, from one another, not in the facts that
+they include, but in the length at which they expand upon these facts.
+One rule should be noted in the writing of all these stories or of any
+athletic story--avoid superlatives. To a green reporter almost every
+game seems to be "the most spectacular," "the most thrilling," "the
+hardest fought," "the most closely matched," but a broad experience is
+necessary to defend the use of any superlative about the game.
+
+
+=1. The Brief Summary Story.=--This is the little story of a stickful or
+less, which merely announces the result of some distant or unimportant
+game. Taken in its shortest form it gives only the names of the teams,
+the score, the time and place of the game, and perhaps a word or two of
+general characterization. As it is allowed to expand in length it takes
+up as briefly as possible the following facts in the order in which they
+are given: the scoring, the comparison of play, the star players or
+plays. It is a mere announcement of the result of the game and no more,
+for that is all the reader wants. The line-ups and other tables are
+usually omitted, and nothing is included that goes beyond this narrow
+purpose. Here are a few examples:
+
+             |  IOWA CITY, Ia., Nov. 25.--Sensational  |
+             |end runs by McGinnis and Curry near the  |
+             |end of the final quarter of play gave    |
+             |Iowa a 6-to-0 victory over Northwestern  |
+             |here this afternoon.                     |
+             |                                         |
+             |  Fort Atkinson High School defeated     |
+             |Madison High today in the final moments  |
+             |of play when a punt by Davy, fullback    |
+             |for Madison, was blocked and the ball    |
+             |recovered behind the line, giving Fort   |
+             |Atkinson the game, 2 to 0.               |
+
+             |  INDIANAPOLIS, June 3.--Indianapolis    |
+             |started its at-home series today by      |
+             |defeating Kansas City, 3 to 2. Robertson |
+             |was in fine form, striking out five men, |
+             |permitting no one to walk and allowing   |
+             |only six hits. Score: (Tables.)          |
+
+             |  LAFAYETTE, Ind., June 1.--With the     |
+             |score 41 1-3 points, athletes            |
+             |representing the University of California|
+             |won the twelfth annual meet of the       |
+             |Western Intercollegiate Athletic         |
+             |Conference Association today.            |
+             |                                         |
+             |Missouri was second with 29 1-3 points,  |
+             |Illinois third with 26, Chicago fourth   |
+             |with 15 and Wisconsin fifth with 12 1-2. |
+
+
+=2. The Usual Football Story.=--The usual report of a game is a story of
+a half column or less which is longer than the brief summary story and
+not so detailed as the long football story. This is the story that a
+correspondent would usually send to his paper. It is like them both in
+the facts that it includes and differs only in length and in manner of
+treatment. This story is usually divided into two parts: the
+introduction and the running account. The introduction, or lead, is
+very much like the brief summary story; in fact, the entire brief
+summary story might be used as the introduction of a story of this type.
+The second part, the running account, corresponds to the running account
+of the game as it will be taken up with the long football story.
+
+The introduction of the usual athletic story always contains certain
+facts. The first sentence, corresponding to the lead of a news story,
+always gives the names of the teams, the score, the time, the place, and
+the most striking feature of the game. After this the plays that
+resulted in scores are described and the star plays or players are
+enumerated. Usually a comparison of the two teams, as to weight, speed,
+and playing, follows, and the opinion of the captain or of some coach
+may be included. The rest of the introduction may be devoted to the
+picturesque side of the game: the crowd, the cheering, the celebration,
+etc. All of this must be told briefly in 200 words or less. The
+introduction is simply the brief summary story slightly expanded. Here
+is a fair example (the paragraph containing the scoring has been
+omitted):
+
+             |  Purdue triumphed over Indiana today, 12|
+             |to 5, recording the first victory for the|
+             |Boilermakers over the Crimson in five    |
+             |years.                                   |
+             |                                         |
+             |  (Omitted paragraph on scoring belongs  |
+             |here.)                                   |
+             |                                         |
+             |  Purdue played a great game at all      |
+             |times Oliphant, right half-back on the   |
+             |Boilermaker eleven, played remarkably    |
+             |well and was the hardest man for the     |
+             |locals to handle. Baugh, Miller, Winston |
+             |and Capt. Tavey also starred for Coach   |
+             |Hoit's men.                              |             |
+             |                                         |
+             |  The Lafayette rooters, 1,500 strong,   |
+             |rushed on the field at the close of the  |
+             |struggle and carried their players off   |
+             |the field.                               |
+
+This is ordinarily followed by a brief running account of the game. It
+does not attempt to follow every play or to trace the course of the ball
+throughout the entire game, as a complete running account would do. It
+is usually made from the detailed running account by a process of
+elimination so that nothing but the "high spots" of the game is left.
+Such an account may run from 200 to 300 words in length. At the end
+tables are usually printed to give the line-up and the tabulated results
+of the game, but these may sometimes be omitted. The following is an
+extract from a condensed running account:
+
+             |  Again the cadets fought their way to   |
+             |the 10-yard line, runs by Rose and       |
+             |Patterson helping materially, but again  |
+             |Wayland held. The half ended after       |
+             |Wayland had kicked out of danger.        |
+             |                                         |
+             |  In the second half St. John's outplayed|
+             |Wayland throughout. The cadets by a      |
+             |succession of line plunges took the ball |
+             |within striking distance several times,  |
+             |only to be held for downs or lose it on a|
+             |fumble.                                  |
+             |                                         |
+             |  Patterson electrified the crowd just   |
+             |before the third quarter ended by twice  |
+             |dodging through for 20-yard runs, placing|
+             |the ball on the 15-yard line, where the  |
+             |cadets were held for downs.              |
+
+
+=3. Long Football Story.=--The third class of football story is the long
+detailed account. This is all that is left of the elaborate write-ups of
+the season's big games that were printed a few years ago and may be seen
+occasionally now. Ten or twenty years ago it was not unusual for an
+editor to run several pages, profusely illustrated, on a big eastern
+football game. The story was written up from every possible
+aspect--athletic, social, picturesque, etc. Every play was described in
+detail and sometimes a graphic diagram of the play was inserted. Each
+phase was handled by a different reporter and the whole thing was given
+a prominence in the paper out of all proportion with its real
+importance. Such a treatment of athletic news has now been very largely
+discarded.
+
+The outgrowth of this elaborate treatment is the common one- or
+two-column account in the pink or green sporting pages. All of the
+various aspects of the big game are still to be seen, condensed to the
+smallest amount of space; and this brief account of the different
+aspects of the game is arranged as an introduction of a half column or
+less to head the running account of the game. This is the sort of story
+that is used to report the Yale-Harvard games and the more important
+middle western games. Its form has become very definitely settled and a
+correspondent can almost write his story of the big game by rule.
+
+The first part of the story, called the introduction, consists of five
+or six general paragraphs. The material in this introduction is
+arranged, paragraph by paragraph, in the order of its importance.
+Following this is a running account of the game which may occupy a
+column or more, depending upon the importance of the contest. At the end
+is a table showing the line-up and a summary of the results.
+
+The introduction of the big football or baseball story usually follows a
+very definite order. There are certain things which it must always
+contain: the result of the game; how the scoring was done; a
+characterization of the playing; the stars; the condition of the weather
+and the field; the crowd; etc. The reader always wishes to know these
+things about the game even if he does not care to read the running
+account. It is equally evident that the scoring is of greater interest
+than the crowd, and that a comparison of the teams is more important
+than the cheering. And so a reporter may almost follow a stereotyped
+outline in writing his account. A possible outline would be something
+like this:
+
+    First Paragraph.--The names of the teams, the score, when and
+      where the game was played, and perhaps some striking feature
+      of the game. The weather may have been a significant factor,
+      or the condition of the field; the crowd may have been
+      exceptionally large or small, enthusiastic or uninterested;
+      or the game may have decided a championship; some star may
+      have been unusually prominent, or the scoring may have been
+      done in an extraordinary way. Any of these factors, if of
+      sufficient significance, would be played up in the first line
+      just as the feature of an ordinary news story is played up.
+      This paragraph corresponds to the lead of a news story and is
+      so written. For example:
+
+             |  Playing ankle-deep in mud before a     |
+             |wildly enthusiastic gathering of football|
+             |rooters, the gridiron warriors of Siwash |
+             |College defeated the Tigers this         |
+             |afternoon on Siwash athletic field by the|
+             |score of 5 to 0.                         |
+
+    Second Paragraph.--Here the reporter usually tells how the
+      scoring was done, what players made the scores, and how.
+
+    Third Paragraph.--The next thing of importance is a comparison
+      of the two teams. The reader wants to know how they compared
+      in weight, speed, and skill, and how each one rose to the
+      fight. A general characterization of the playing or a
+      criticism may not be out of place here.
+
+    Fourth Paragraph.--Now we are ready to tell about the individual
+      players. Our readers want to know who the stars were and how
+      they starred.
+
+    Fifth Paragraph.--This brings us down near the tag end of the
+      introduction. Very often this paragraph is devoted to the
+      opinions of the captains and coaches on the game. Their
+      statements, if significant, may be boxed and run anywhere in
+      the report.
+
+    Sixth Paragraph.--The picturesque and social side of the game
+      comes in here. The size of the crowd, the enthusiasm, the
+      celebration between halves or before or after the game, are
+      usually told. This material may be of enough importance to
+      occupy several paragraphs, but the reporter must always
+      remember that he is writing a sporting account and not a
+      picturesque description of a social event.
+
+    Seventh Paragraph.--This paragraph usually begins the running
+      account of the game.
+
+                            *       *       *
+
+    N-th Paragraph.--This space at the end of the entire report is
+      given to the line-ups and tabulated results of the game.
+
+This arrangement may of course be varied, and any of the foregoing
+factors of the game may be of sufficient importance to be placed earlier
+in the story. Never, however, should the various factors be mixed
+together heterogeneously and written in a confused mass. Each element
+must be taken up separately and occupy a paragraph by itself.
+
+The running account of the game, which follows the introduction,
+requires little rhetorical skill. Each play is described in its proper
+place and order and should be so clear that a reader could make a
+diagram of the game from it. It must also be accurate in names and
+distances as well as in plays.
+
+Probably every individual sporting correspondent has a different way of
+distinguishing the players and the plays and of writing his running
+account. It is not an easy matter to watch a game from the press stand
+far up in the bleachers and be able to tell who has the ball in each
+play and how many yards were gained or lost. Familiarity with the teams
+and the individual players makes the task easier but few reporters are
+so favored by circumstances. They must get the names from the cheering
+or from other reporters about them unless they have some method of their
+own.
+
+There is one method that may be followed with some success. Before the
+game the reporter equips himself with a table of the players showing
+them in their respective places as the two teams line up. It is usually
+impossible to tell who has the ball during any single play because the
+eye cannot follow the rapid passing, but it is always possible to tell
+who has the ball when it is downed. At the end of each play as the
+players line up, the reporter keeps his eye on the man who had the ball
+when it was downed and watches to see the position he takes in the new
+line-up. Then a glance at the table will tell him the man's name.
+
+The running account is written as simply and briefly as possible. It
+follows each play, telling what play was made, who had the ball, and
+what the result was. It keeps a record of all the time taken out, the
+changes in players, the injuries, etc. A typical running account reads
+something like this:
+
+             |  Siwash advanced the ball two yards by a|
+             |line plunge. Kelley carried the ball     |
+             |around left end for five yards to the    |
+             |Tigers' 50-yard line. The Tigers gained  |
+             |the ball on a fumble after a fake punt   |
+             |and lined up on their own 45-yard line.  |
+             |Time called. Score at end of first half, |
+             |0 to 0.                                  |
+
+At the end of the running account are tables, usually set in smaller
+type, giving the line-up of the two teams and the tabulated results of
+the game. Some papers arrange the tables as follows:
+
+             |Siwash:                         Tigers:  |
+             |                                         |
+             |Smith...........left end.......Jones     |
+             |                                         |
+             |Brown.........left tackle......Green-Wood|
+             |                                         |
+             |McCarthy.......left guard......Connor    |
+             |                                         |
+             |Hall (Capt.).....centre........Jacobs    |
+             |                                         |
+             |Etc.                                     |
+
+Other papers use this system which brings the opposing players together:
+
+             |Siwash:                         Tigers:  |
+             |                                         |
+             |l. e........Smith : Williams.......r. e. |
+             |                                         |
+             |l. t........Brown : Jackson........r. t. |
+             |                                         |
+             |l. g.....McCarthy : Cook (Capt.)...r. g. |
+             |                                         |
+             |c....(Capt.) Hall : Jacobs............c. |
+             |                                         |
+             |Etc.                                     |
+
+The tabulated results at the end may be something like this:
+
+             |Score by periods:                        |
+             |                                         |
+             |Tigers....................0  2  1  3--6  |
+             |                                         |
+             |Siwash....................0  0  0  0--0  |
+             |                                         |
+             |Touchdown--Brown. Goal from touchdown--  |
+             |O'Brien. Umpire--Enslley, Purdue.        |
+             |Referee--Holt, Lehigh. Field             |
+             |judge--Hackensaa, Chicago. Head          |
+             |linesman--Seymour, Delaware. Time of     |
+             |periods--fifteen minutes.                |
+
+Dispatches and stories on baseball games and track meets are usually
+accompanied by tables of results, similar to the above but arranged in a
+slightly different way. The form may be learned from any reputable
+sporting sheet.
+
+
+
+
+XV
+
+HUMAN INTEREST STORIES
+
+
+In our study of newspaper writing up to this point we have been entirely
+concerned with forms, rules, and formulas; every kind of story which we
+have studied has had a definite form which we have been charged to
+follow. We have been commanded always to put the gist of the story in
+the first sentence and to answer the reader's customary questions in the
+same breath. Now we have come to a class of newspaper stories in which
+we are given absolute freedom from conventional formulas. In fact, the
+human interest story is different from other newspaper stories largely
+because of its lack of forms and rules. It does not begin with the gist
+of its news--perhaps because it rarely has any real news--and it answers
+no customary questions in the first paragraph; its method is the natural
+order of narrative. The human interest story stands alone as the only
+literary attempt in the entire newspaper and, as such, a discussion of
+it can hardly tell more than what it is, without any great attempt to
+tell how to write it. For our purposes, the distinguishing marks of the
+human interest story are its lack of real news value and of conventional
+form, and its appeal to human emotions.
+
+The human interest story has grown out of a number of causes. Up to a
+very recent time newspapers have been content with printing news in its
+barest possible form--facts and nothing but facts. Their appeal has been
+only to the brain. But gradually editors have come to realize that, if
+many monthly magazines can exist on a diet of fiction that appeals only
+to the emotions, a newspaper may well make use of some of the material
+for true stories of emotion that comes to its office. They have realized
+that newsiness is not the only essential, that a story does not always
+have to possess true news value to be worth printing--it may be
+interesting because it appeals to the reader's sympathy or simply
+because it entertains him. Hence they began to print stories that had
+little value as news but, however trivial their subject, were so well
+written that they presented the humor and pathos of everyday life in a
+very entertaining way. The sensational newspapers took advantage of the
+opportunity but they shocked their readers in that they tried to appeal
+to the emotions through the kind of facts that they printed, rather
+than through the presentation of the facts. They did not see that the
+effectiveness of the emotional appeal depends upon the way in which a
+human interest story is written, rather than upon the story itself.
+Therefore they shocked their readers with extremely pathetic facts
+presented in the usual newspaper way, while the journals which stood for
+high literary excellence were able to handle trivial human interest
+material very effectively. Now all the newspapers of the land have
+learned the form and are printing effective human interest stories
+every day.
+
+Another reason behind the growth of the human interest story is the
+curse of cynicism which newspaper work imprints upon so many of its
+followers. Every editor knows that no ordinary reporter can work a
+police court or hospital run day after day for any length of time
+without losing his sensibilities and becoming hardened to the sterner
+facts in human life. Misfortune and bitterness become so common to him
+that he no longer looks upon them as misfortune and misery, but just as
+news. Gradually his stories lose all sympathy and kindliness and he
+writes of suffering men as of so many wooden ten-pins. When he has
+reached this attitude of cynicism, his usefulness to his paper is almost
+gone, for a reporter must always see and write the news from the
+reader's sympathetic point of view. To keep their reporters'
+sensibilities awake editors have tried various expedients which have
+been more or less successful. One of these is the "up-lift run" for cub
+reporters--a round of philanthropic news sources to teach them the
+business of reporting before they become cynical. Another is the human
+interest story. If a reporter knows that his paper is always ready and
+glad to print human interest stories full of kindliness and human
+sympathy, he is ever on the watch for human interest subjects and
+consequently forces himself to see things in a sympathetic way. Thus he
+unconsciously wards off cynicism. The search for human interest material
+is a modification of the "sob squad" work of the sensational papers, on
+more delicate lines.
+
+A human interest story is primarily an attempt to portray human
+feeling--to talk about men as men and not as names or things. It is an
+attempt to look upon life with sympathetic human eyes and to put living
+people into the reports of the day's news. If a man falls and breaks his
+neck, a bald recital of the facts deals with him only as an animal or an
+inanimate name. The fact is interesting as one item in the list of human
+misfortunes, but no more. And yet there are many people to whom this
+man's accident is more than an interesting incident--it is a very
+serious matter, perhaps a calamity. To his family he was everything in
+the world; more than a mere means of support, he was a living human
+being whom they loved. The bald report of his death does not consider
+them; it does not consider the man's own previous existence. But if we
+could get into the hearts of his wife and his mother and his children,
+we could feel something of the real significance of the accident. This
+is what the human interest story tries to do. It does not necessarily
+strive for any effect, pathetic or otherwise, but tries simply to treat
+the victim of the misfortune as a human being. The reporter endeavors to
+see what in the story made people cry and then tries to reproduce it. In
+the same way in another minor occurrence, he attempts to reproduce the
+side of an incident that made people laugh. Either incident may or may
+not have had news value in its baldest aspect, but the sympathetic
+treatment makes the resulting human interest story worth printing.
+
+There are various kinds of human interest stories. The common ground in
+them all is usually their lack of any intrinsic news value. Many a
+successful human interest story has been printed although it contained
+no one of the elements of news values that were outlined earlier in this
+book. In fact, one of the uses of the human interest story is to
+utilize newspaper by-products that have no news value in themselves.
+Hence the human interest story has no news feature to be played up and,
+since it does not contain any real news, it does not have to answer any
+customary questions. In form it is much like a short story of fiction,
+since it depends on style and the ordinary rules of narration. The
+absence of a lead, more than any other characteristic, distinguishes the
+human interest story from the news story, in form. We have worked hard
+to learn to play up the gist of the news in our news stories; now we
+come to a story which makes no attempt to play up its news--in fact, it
+may leave its most interesting content until the end and spring it as a
+surprise in the last line. To be sure, most human interest stories have
+and indicate a timeliness. The story may have no news value but it is
+always concerned with a recent event and usually tells at the outset
+when the event occurred. Almost without exception, the examples quoted
+in this chapter show their timeliness by telling in the first sentence
+when the event occurred. So much for the outward form of the human
+interest story.
+
+
+=1. Pathetic Story.=--One of the many kinds of human interest stories is
+the pathetic story. Although it does not openly strive for pathos, it is
+pathetic in that it tells the story of a human misfortune, simply and
+clearly, with all the details that made the incident sad. It is the
+story that attempts to put the reader into the very reality of the pain
+and sorrow of every human life. Sometimes it makes him cry, sometimes it
+makes him shudder, and sometimes it disgusts him, but it always shows
+him misfortune as it really is. It looks down behind the outward actions
+and words into the hearts of its actors and shows us motives and
+feelings rather than facts. But just as soon as any attempt at pathos
+becomes evident, the story loses its effectiveness. Its only means are
+clear perception and absolute truthfulness. Here is an example of a
+pathetic human interest story taken from a daily paper:
+
+             |  Rissa Sachs' child mind yesterday        |
+             |evolved a tragic answer to the question,   |
+             |"What shall be done with the children of   |
+             |divorced parents?"                         |
+             |                                           |
+             |  She took her life.                       |
+             |                                           |
+             |  Rissa was 14 years old. The divorce      |
+             |decree that robbed her of a home was less  |
+             |than a week old. It was granted to her     |
+             |mother, Mrs. Mellisa Sachs, by Judge       |
+             |Brentano last Saturday.                    |
+             |                                           |
+             |  When the divorce case was called for     |
+             |trial Rissa found that she would be        |
+             |compelled to testify. Reluctantly she      |
+             |corroborated her mother's story that her   |
+             |father, Benjamin Sachs, had struck Mrs.    |
+             |Sachs. It was largely due to this          |
+             |testimony that the decree was granted and  |
+             |the custody of the child awarded to Mrs.   |
+             |Sachs.                                     |
+             |                                           |
+             |  Then the troubles of the girl began in   |
+             |real earnest. She loved her mother dearly. |
+             |But her father, who had been a companion   |
+             |to her as well as a parent, was equally    |
+             |dear to her.                               |
+             |                                           |
+             |  Both parents pleaded with her. Mrs.      |
+             |Sachs told Rissa she could not live        |
+             |without her. The father told the girl, in  |
+             |a conversation in a downtown hotel several |
+             |days ago, that he would disown her unless  |
+             |she went to live with him.                 |
+             |                                           |
+             |  Every hour increased the perplexities of |
+             |the situation for the child. She could not |
+             |decide to give up either of her parents    |
+             |for fear of offending the other. So she    |
+             |sacrificed her own life and gave up both.  |
+             |                                           |
+             |  Thursday evening, on returning from      |
+             |school to the Sachs home at 4529 Racine    |
+             |avenue, Rissa talked long and earnestly    |
+             |with her mother. Then she retired to her   |
+             |room, turned on the gas and, clothed, lay  |
+             |down upon her bed to await death and       |
+             |relief from troubles that have driven      |
+             |older heads to despair.                    |
+             |                                           |
+             |  At the inquest yesterday afternoon the   |
+             |grief-stricken mother told the story of    |
+             |her daughter's difficulties. She said that |
+             |Rissa had declared she could not live if   |
+             |compelled to give up either of her         |
+             |parents, but added that she never had      |
+             |believed it.--_Chicago Record-Herald._     |
+
+This is a pathetic human interest story in that it attempts to give the
+human significance of an incident which in itself would have little news
+value. Perhaps, in the matter of words, there is a slight straining for
+pathos. The form, it will be noted, is decidedly different from that of
+a news story on the same incident and, although the timeliness is given
+in the first line, there is no attempt to present the gist of the story
+in a formal lead. The source of the news is indicated in the last
+paragraph.
+
+
+=2. Humorous Story.=--Another kind of human interest story is the
+humorous story. Its humor, like the pathos of a pathetic story, does not
+come from an attempt to be funny, but from the truthful presentation of
+a humorous incident, from the incongruity and ludicrousness of the
+incident itself. The writer tries to see what elements in a given
+incident made him laugh and then portrays them so clearly and truthfully
+that his readers cannot help laughing with him. The subject may be the
+most trivial thing in the world, not worth a line as a news story, and
+yet it may be told in such a way that it is worth a half-column write-up
+that will stand out as the gem of the whole edition. But after all the
+effectiveness depends upon the humor in the original subject and the
+truthfulness of the telling. The following humorous human interest
+story, which occupied a place on the front page, was built up out of an
+incident almost devoid of news value:
+
+             |  One of Johnnie Wilt's original ideas     |
+             |for entertaining his twin sister           |
+             |Charlotte is to build a big bonfire on     |
+             |the floor of their playroom.               |
+             |                                           |
+             |  Johnnie, who is 4 years old, carried his |
+             |plan into execution at the Wilt home, 2474 |
+             |Lake View avenue, for the first time       |
+             |yesterday afternoon, with results that     |
+             |made a lasting impression upon his mind    |
+             |and the finishings of the interior of the  |
+             |house.                                     |
+             |                                           |
+             |  The thing was suggested to him by a      |
+             |bonfire he saw a man build in the street.  |
+             |Charlotte hadn't seen the other fire. For  |
+             |some reason Charlotte's feminine mind      |
+             |refused to understand just what the fire   |
+             |was like.                                  |
+             |                                           |
+             |  Consequently nothing remained for        |
+             |Johnnie to do but build a fire of his own. |
+             |He piled all of the newspapers and         |
+             |playthings that could be found in the      |
+             |middle of the room and then applied a      |
+             |match.                                     |
+             |                                           |
+             |  When the flames leaped to the ceiling,   |
+             |however, and a cloud of smoke filled the   |
+             |room, Johnnie began to doubt the wisdom of |
+             |the move. While Charlotte ran to tell a    |
+             |maid he retreated to that haven of         |
+             |youthful fugitives--the space beneath a    |
+             |couch.                                     |
+             |                                           |
+             |  The frightened maid summoned the fire    |
+             |engines and the fire was soon              |
+             |extinguished. But Mrs. Wilt discovered     |
+             |that Johnnie had disappeared. She          |
+             |telephoned to Charles T. Wilt, president   |
+             |of the trunk company that bears his name,  |
+             |and half hysterically told of the fire and |
+             |the disappearance of Johnnie.              |
+             |                                           |
+             |  Just then there was a scrambling sound   |
+             |from beneath the couch. Johnnie, looking   |
+             |as serious as a 4-year-old face can look,  |
+             |walked out.                                |
+             |                                           |
+             |  Mrs. Wilt seized him and, to an          |
+             |accompaniment of "I-won't-do-it-agains,"   |
+             |crushed him to her bosom. Last reports     |
+             |from the Wilt home were that Johnnie had   |
+             |not yet been punished for his              |
+             |deed.--_Chicago Record-Herald._            |
+
+The student will notice how all the facts of the story and the answers
+to the reader's questions are worked in here and there, how the content
+of a news story lead is scattered throughout the entire account.
+
+
+=3. Writing the Human Interest Story.=--It is one thing to be able to
+distinguish material for a human interest story and another to be able
+to write the story. The whole effectiveness of the story, as we have
+seen, depends upon the way it is written. Many a poorly written,
+ungrammatical news story is printed simply because it contains facts
+that are of interest, regardless of the way in which they are presented.
+But never is a poorly written human interest story printed; simply
+because the facts in it have little interest themselves and the story's
+usefulness depends entirely upon the presentation of the facts. Hence,
+the human interest story, more than any other newspaper story, must be
+well written. And yet there are no rules to assist in the writing of
+such a story. In fact, its very nature depends upon originality and
+newness in form and treatment.
+
+In the first place, we cannot fall back upon the conventional lead for a
+beginning, because a lead would be out of place. As we have said before,
+the human interest story does not begin with a lead for the reason that
+it has no striking news content to present in the lead. In many cases
+the whole story depends upon cleverly arranged suspense; if the content
+is given in a lead at the beginning suspense is of course impossible.
+The human interest story has no more need of a lead than does a short
+story--in some ways a human interest story is very much like a short
+story--and a short story that gives its climax in the first paragraph
+would hardly be written or read. But, just like the short story, a human
+interest story must begin in an attractive way. In the study of short
+story writing almost half of the study is devoted to learning how to
+begin the story, on the theory that the reader is some sort of a
+fugitive animal that must be lassoed by an attractive and interesting
+beginning. The theory is of course a true one and it holds good in the
+case of human interest stories.
+
+But no rules can be laid down to govern the beginning of human interest
+or short stories. Each story must begin in its own way--and each must
+begin in a different way. Some writers of short stories begin with
+dialogue, others with a clean-cut witticism, others with attractive
+explanation or description, others with a clever apology. The list is
+endless. This endless list is ready for the reporter who is trying to
+write human interest stories. But the choosing must be his own. He must
+select the beginning that seems best adapted to his story. As an
+inspiration to reporters who are trying to write human interest stories,
+a few beginnings clipped from daily papers are given here. Some are good
+and some are bad; the goodness or badness in each case depends upon
+individual taste. They can hardly be classified in more than a general
+way for originality is opposed to all classifications. They are merely
+suggestions.
+
+A striking quotation or a bit of apt dialogue is commonly used to
+attract attention to a story. Here are some examples:
+
+             |  "Burglars," whispered Mrs. Vermilye to  |
+             |herself and she took another furtive peek |
+             |out of the windows of her rooms on the    |
+             |sixth floor of the, etc.                  |
+
+             |  "Speaking of peanuts," observed the man |
+             |with the red whiskers, "they ain't the    |
+             |only thing in the world what is small."   |
+             |Etc.                                      |
+
+             |  "Ales, Wines, Liquors and Cigars!" You  |
+             |see this sign in the windows of every     |
+             |corner life-saving station. But what      |
+             |would you say if you saw it blazing over  |
+             |the entrance to the Colony Club, that     |
+             |rendezvous for the little and big sisters |
+             |of the rich at Madison avenue and         |
+             |Thirtieth street? Etc.                    |
+
+             +------------------------------------------+
+             |WANTED--Bright educated lady as secretary |
+             |to business man touring northwest states  |
+             |and Alaska: give reference, ability; age, |
+             |description. Address E-640, care Bee.     |
+             |                                          |
+             |                             (7)-680 19x. |
+             +------------------------------------------+
+             |  The above innocent appearing want ad in |
+             |_The Bee_, although alluring in its       |
+             |prospects to a young woman desiring a     |
+             |summer vacation, is the principal factor  |
+             |in the arrest of one M. W. Williams, etc. |
+
+A well-written first sentence in a human interest story often purports
+to tell the whole story, like a news story lead, and really tells only
+enough to make you want to read further. Here are a few examples:
+
+             |  His son's suspicions and a can opener   |
+             |convinced Andrew Sherrer last Saturday    |
+             |that he had been fleeced out of $500 by   |
+             |two clever manipulators of an ancient     |
+             |"get-something-for-nothing" swindle. So   |
+             |strong was the victim's confidence, etc.  |
+
+             |  There's a stubborn, unlaid ghost, a     |
+             |gnome, a goblin, a swart fairy at the     |
+             |least, who has settled down for the       |
+             |winter in a perfectly respectable cellar  |
+             |over in Brooklyn and whiles away the      |
+             |dismal hours of the night by chopping     |
+             |spectral cordwood with a phantom axe.     |
+             |Instead of going to board with Mrs.       |
+             |Pepper or another medium and being of     |
+             |some use in the world and having a        |
+             |pleasant, dim-lighted cabinet all its     |
+             |own, this unhappy ghost--or ghostess--is  |
+             |pestering Marciana Rose of 1496 Bergen    |
+             |street, who owns the cellar and the house |
+             |over it--over both the ghost and the      |
+             |cellar. Etc.                              |
+
+             |  The gowk who calls up 3732 Rector today |
+             |will get a splinter in his finger if he   |
+             |scratches his head. Nothing doing with    |
+             |3732 Rector. From early morn till dewy    |
+             |eve Mr. Fish, Mr. C. Horse, Mr. Bass, Mr. |
+             |Skate and other inmates of the aquarium   |
+             |will be inaccessible by 'phone. Etc.      |
+
+             |  Under all the saffron banners and the   |
+             |sprawling dragons clawing at red suns     |
+             |over the roofs of Chinatown yesterday     |
+             |there was a tension of unrest and of      |
+             |speculation. It all had to do with the    |
+             |luncheon to be given to his Imperial      |
+             |Highness Prince Tsai Tao and the members  |
+             |of his staff at the Tuxedo Restaurant, 2  |
+             |Doyers street, at noon to-morrow. Etc.    |
+
+             |  Man and wife, sitting side by side as   |
+             |pupils, was the interesting spectacle     |
+             |which provided the feature of the         |
+             |elementary night school opening last      |
+             |night. Etc.                               |
+
+             |  Two young Germans of Berlin, neither    |
+             |quite 18 years of age, had a perfectly    |
+             |uncorking time aboard the White Star      |
+             |liner Majestic, in yesterday. They were   |
+             |favorites with the smoke-room stewards.   |
+             |They learned later that man is born unto  |
+             |trouble as the corks fly upward. Etc.     |
+
+             |  It was a long black overcoat with a     |
+             |velvet collar, big cuffed sleeves, and    |
+             |broad of shoulder, and looked decidedly   |
+             |warm and comfy. It stood in one of the    |
+             |large display windows of ----, and        |
+             |covered the deficiencies of a waxy dummy, |
+             |who stared in a surprised sort of manner  |
+             |out into the street and appeared to be    |
+             |looking at nothing. Etc.                  |
+
+             |  The bellboys put him up to it and then  |
+             |Marcus caused a lot of trouble. Marcus is |
+             |a parrot who has been spending the winter |
+             |in one of the large Broadway hotels. Etc. |
+
+             |  Lame, old, but uncomplaining,           |
+             |remembering only his joy when a visitor   |
+             |came to him, and forgetting to be bitter  |
+             |because of the wrongs done him, meeting   |
+             |his rescuer with a wag of the tail meant  |
+             |to be joyful, a St. Bernard dog set an    |
+             |example, etc.                             |
+
+Some human interest stories begin, and effectively, too, with a direct
+personal appeal to the reader; thus:
+
+             |  If you've never seen anybody laugh with |
+             |his hands, you should have eased yourself |
+             |up against a railing at the Barnum and    |
+             |Bailey circus in Madison Square Garden    |
+             |yesterday afternoon and watched a band of |
+             |250 deaf mute youngsters, all bedecked in |
+             |their bestest, signalling all over the    |
+             |Garden. Etc.                              |
+
+             |  If you've ever sat in the enemy's camp  |
+             |when the Blue eleven lunged its last yard |
+             |for a touchdown and had your hair ruffled |
+             |by the roar that swept across the         |
+             |gridiron, you can guess how 1,500 Yale    |
+             |men yelled at the Waldorf last night for  |
+             |Bill Taft of '78. Etc.                    |
+
+A question is often used at the beginning of a human interest story:
+
+             |  A near-suicide or an accident. Which?   |
+             |Keeper Bean is somewhat puzzled to say    |
+             |which, but it is quite certain it will    |
+             |not be tried again. At least, Keeper Bean |
+             |does not think it will.                   |
+             |                                          |
+             |  But, it was a sad, sad Sunday for the   |
+             |little white-faced monkey. For hours he   |
+             |lay as dead, etc.                         |
+
+Many of these stories, animal or otherwise, begin with a name:
+
+             |  Long Tom, a Brahma rooster that had     |
+             |been the "bad inmate" of Jacob Meister's  |
+             |farm at West Meyersville, N. J., for      |
+             |three years, paid the penalty of his      |
+             |crimes Christmas morning when he was      |
+             |beheaded after his owner had condemned    |
+             |him to death. Bad in life, he was good in |
+             |a potpie that day, etc.                   |
+
+The beginning of a human interest story is always the most important
+part; just like a news story, it must attract attention with its first
+line. In the same way, a good beginning is something more than half
+done. But here the similarity between the two ends. The news story,
+after the lead is written, may slump in technique so that the end is
+almost devoid of interest; the human interest story, on the other hand,
+must keep up its standard of excellence to the very last sentence and
+the last line must have as much snap as the first. It is never in danger
+of losing its last paragraph and so it may be more rounded and complete;
+it must follow a definite plan to the very end and then stop. In this it
+is like the short story, although it seldom has a plot. There are no
+rules to help us in writing any part of the human interest story. Each
+attempt has a different purpose and must be done in a different way. Yet
+the reporter must know before he begins just exactly how he is going to
+work out the whole story. He must plan it as carefully as a short
+story. A few minutes of careful thought before he begins to write are
+better than much reworking and alteration after the thing is done. This
+applies to all newspaper writing.
+
+Much of the effectiveness of the human interest story depends upon the
+reporter's style. When we try to write human interest stories we are no
+longer interested in facts, as much as in words. Our readers are not
+following us to be informed, but to be entertained. And we can please
+them only by our style and the fineness of our perception. Although we
+have been told to write news stories in the common every-day words of
+conversation, we are not so limited in the human interest story. The
+elegance of our style depends very largely upon the size of our
+vocabulary, and elegance is not out of place in this kind of story.
+Although we have been told to use dialogue sparingly in news stories,
+our human interest story may be composed entirely of dialogue. In fact,
+we are hampered by no restrictions except the restrictions of English
+grammar and literary composition. Although we have sought simplicity of
+expression before, we may now strive for subtlety and for effect; we may
+write suggestively and even obscurely. We are dealing with the only part
+of the newspaper that makes any effort toward literary excellence and
+only our originality and cleverness can guide us.
+
+It is hardly necessary to repeat that one cannot write human interest
+stories in a cynical tone. They are a reaction against cynicism. They
+require one to feel keenly, as a human being, and to write
+sympathetically, as a human being. The reporter must see behind the
+facts and get the personal side of the matter--and feel it. Then he must
+tell the story just as he sees and feels it. Absolute truthfulness in
+the telling is as necessary as keen perception in the seeing. Humor must
+be sought through the simple, truthful presentation of an incongruous or
+humorous idea or situation; pathos must be sought by the truthful
+presentation of a pathetic picture. Just as soon as the reporter tries
+to be funny or to be pathetic he fails, for the reader is not looking to
+the reporter for fun or pathos--but to the story that the reporter is
+telling. That is, the story must be written objectively; the writer must
+forget himself in his attempt to impress the story upon his reader's
+mind. If the story itself is fundamentally humorous or sad and the story
+is clearly and truthfully told with all the details that make it
+humorous or sad, it cannot help being effective.
+
+The best way to learn how to write human interest stories is to study
+human interest stories. Most papers print them nowadays--they can easily
+be distinguished by their lack of news value, and of a lead--and the
+finest example is just as likely to crop out in a little weekly as in a
+metropolitan daily.
+
+
+=4. The Animal Story.=--The examples printed earlier in this chapter are
+specimens of the truest type of human interest story because they deal
+with human beings. They derive their joy or sorrow from things that
+happen to men and women. But all the sketches that are classed as human
+interest stories are not so carefully confined to the limits of the
+title. From the original human interest story the type has grown until
+it includes many other things--almost any piece of copy that has no
+intrinsic news value. Every possible subject that may suit itself to a
+pathetic or humorous treatment and thus be interesting, although it has
+no news value, is roughly classed as a human interest story.
+
+One of these outgrowths of the true human interest sketch is the animal
+story. In the large cities, the "zoo" and the parks have become a
+fruitful source of "news." Anything interesting that may happen to the
+monkeys, or the elephant, the sparrows or the squirrels in the parks,
+horses or dogs in the street, is used as the excuse for a human interest
+story. Sometimes the purpose is pathos and sometimes it is humor, but,
+whatever it may be, if it is clever and interesting it gets its place in
+the paper, a place entirely out of proportion to its true news value.
+The results sometimes verge very close upon nature faking, but after all
+they are only the result of the "up-lift" idea of looking at all life in
+a more sympathetic way. Several of the beginnings quoted earlier in this
+chapter belong to animal stories and the following is a complete one:
+
+             |  Smithy Kain was only a mongrel,          |
+             |horsemen will say, but in his equine       |
+             |heart there coursed the blood of           |
+             |thoroughbreds.                             |
+             |                                           |
+             |  Smithy Kain was killed yesterday         |
+             |afternoon, shot through the head, while    |
+             |thousands of Wisconsin fair patrons looked |
+             |on in shuddering sympathy.                 |
+             |                                           |
+             |  It was a tragedy of the track.           |
+             |                                           |
+             |  Owners, trainers and drivers always are  |
+             |quick to declare that no greater courage   |
+             |is known than that possessed and           |
+             |demonstrated by race horses in hard-fought |
+             |battles on the turf, and the truth of this |
+             |was never more strikingly brought home     |
+             |than in the death of Smithy Kain           |
+             |yesterday.                                 |
+             |                                           |
+             |  With a left hind foot snapped at the     |
+             |fetlock, Smithy Kain raced around the      |
+             |track, his valiant spirit and unfaltering  |
+             |gameness keeping him up until he had       |
+             |completed the course in unwavering pursuit |
+             |of the flying horses in front. Every jump  |
+             |meant intense agony, but he would not      |
+             |quit. Not until near the finish did his    |
+             |strength give out, and not until then was  |
+             |the pitiable truth discovered. Men used to |
+             |exhibitions of gameness in tests that try  |
+             |the soul looked on in mute admiration as   |
+             |Smithy Kain shivered and stumbled from the |
+             |pain that rapidly sapped his life. Women   |
+             |cried openly.                              |
+             |                                           |
+             |  Two shots from the pistol of a park      |
+             |policeman ended the life and sufferings of |
+             |the horse that was only a mongrel, but     |
+             |who, in his equine way, was a thoroughbred |
+             |of thoroughbreds.                          |
+             |                                           |
+             |  Smithy Kain gave to his master the best  |
+             |that his animal mind and soul possessed.   |
+             |No better memorial can be written even of  |
+             |man himself.                               |
+
+
+=5. The Special Feature Story.=--One step beyond the animal story is the
+special feature story. This kind of story is classed with the human
+interest story because it has no news value and because its only purpose
+is to entertain or to inform in a general way; and yet it rarely
+contains any human interest. There is no space in this book for a
+complete discussion of the special feature story--an entire volume might
+be devoted to the subject--but this form of story is often seen in the
+news columns of the daily papers and deserves a mention here. Ordinarily
+the special feature story is not written by reporters, although there is
+no reason why reporters should not use in this way many of the facts
+that come to them. The story usually comes from outside the newspaper
+office, from a contributor, from a syndicate, or from some other daily,
+weekly, or monthly publication; however a word or two here may suggest
+to the reporter the possibility of adding to his usefulness by writing
+such stories for his paper.
+
+The special feature story may be almost anything. The name is used to
+designate timely magazine articles, timely write-ups for the Sunday
+edition, and timely squibs for the columns of the daily papers. The last
+use is the one that interests us and it interests us because it is very
+closely related to the human interest story. The editors usually call it
+a feature story because it is worth printing in spite of the fact that
+it has no news value. In this and in its timeliness it is like the human
+interest story. But it is not written for humor or pathos; its purpose
+is to entertain the reader. Its method is largely expository and its
+style may be anything; it may explain or it may simply comment in a
+witty way. The utilizing of otherwise useless by-products of the news is
+its purpose--in this it is very much like the animal story.
+
+Subjects for feature stories may come from anywhere and may be almost
+anything. A very common kind of feature story is the weather story that
+many newspapers print every day. The weather is taken as the excuse for
+two or three stickfuls of print which explain and comment upon weather
+conditions, past, present and future. Growing out of this, there is the
+season story which deals with any subject that the season may suggest:
+the closing of Coney Island, the spring styles in men's hats, the first
+fur overcoat, Commencement presents, Easter eggs--anything in season.
+Further removed from the human interest story is the timely write-up
+which has no other purpose than to explain, in a more or less serious or
+sensible way, any interesting subject that comes to hand. The story
+purports not only to entertain but to inform as well. It has no news
+value and yet it is usually timely. Here are a few subjects selected at
+random from the daily papers: "He'll pay no tax on cake," explaining in
+a humorous way the customs methods that held up the importation of an
+Italian Christmas cake; "Clearing House for Brains," a description of
+the new employment bureau of the Princeton Club of New York; "Ideal man
+picked by the Barnard girl," a humorous resume of some Barnard College
+class statistics; "Winning a Varsity Letter," telling what a varsity
+letter stands for, how it is won, and what the customs of the various
+colleges in regard to letters are; "Jerry Moore raises a record corn
+crop," telling how a fifteen-year-old boy won prizes with a little patch
+of corn.
+
+These are just a few suggestions to open up to the reporter the vast
+field for special feature articles. To be sure, many of them are
+submitted by outsiders, but there is no reason why a reporter should not
+write these stories as well as human interest stories for his paper,
+since he is in the best position to get the material. Whenever a special
+feature story becomes too large for the daily edition there is always a
+possibility of selling it to the Sunday section or to a monthly
+magazine. The writing of special feature stories is directly in line
+with the reporter's work, because the ordinary method of gathering facts
+for a feature article and arranging them in an interesting, newsy way
+follows closely the method by which a reporter covers and writes a news
+story. Hence almost without exception the most successful magazine
+feature writers are, or have been, newspaper reporters.
+
+
+
+
+XVI
+
+DRAMATIC REPORTING
+
+
+Dramatic reporting is one of the most misused of the newspaper
+reporter's activities. To many reporters, as well as to their editors,
+it is just an easy way of getting free admission to the theater in
+return for a half column of copy. Hence it is treated in an unjustly
+trivial way; the reports of theatrical productions are printed most
+often as space fillers or as a small advertisement in return for free
+tickets. But after all the work is an important one and should be done
+only by skillful and expert hands. Dramatic reporting is included in
+this book, not because it is thought possible to give the subject an
+adequate treatment, but because theatrical reporting is a branch of the
+newspaper trade that may fall to the hands of the youngest reporter. In
+mere justice to the stage the reporter who writes up a play should know
+something about the real significance of what he is doing. It is much
+easier to tell the beginner what not to do than to tell him exactly
+what to do. The faults in dramatic reporting are far more evident than
+the virtues; and yet there are some positive things that may be said on
+the subject.
+
+The first important question in the whole matter is "Who does dramatic
+reporting?" One would like to answer, "Skilled critics of broad
+knowledge and experience." But unfortunately almost anybody does it--any
+one about the office who is willing to give up his evening to go to the
+theater. To be sure, many metropolitan papers employ skilled critics to
+write their dramatic copy and run the theatrical news over the critic's
+name. Some editors of smaller papers have the decency to do the work
+themselves. But in most cases the work is given to an ordinary
+reporter--and not infrequently to the greenest reporter on the staff.
+Worse than that, the work is seldom given to the same reporter
+continuously, but is passed around among all the members of the staff.
+Even a green cub may learn by experience how to report plays, but if the
+work falls to him only once a month his training is very meager. It
+would seem in these days of much discussion of the theater that editors
+would realize the power which they have over the stage through their
+favorable or unfavorable criticism. But they do not, perhaps because
+they know little about the stage, and the appeal must be made to their
+reporters. Every reporter, except upon the largest papers, has the
+opportunity sooner or later to give his opinion on a play. In
+anticipation of that opportunity these few words of advice are offered.
+
+The first requisite in dramatic criticism is a background of knowledge
+of the drama and the stage. To children, and to some grown people, too,
+the stage is a little dream world of absolute realities. Their
+imaginations turn the picture that is placed before them into real,
+throbbing life. They do not see the unreality of the art, the suggestive
+effects, the flimsy delusions; to them the play is real life, the stage
+is a real drawing room or a real wood, and they cannot conceive of the
+actors existing outside their parts. But the critic must look deeper; he
+must understand the machinery that produces the effects and he must
+weigh the success of the effects. He must get behind the play and see
+the actors outside the cast and the stage without its scenery; the
+dramatic art must be to him a highly technical profession. For this
+reason, he must know something about dramatic technique; he must have
+some background of knowledge. He must study the theater from every point
+of view, from an orchestra seat, from behind the scenes, from a peekhole
+in the playwright's study, and from the pages of stage history. All the
+tricks and effects must be evident to him. The only thing that will
+teach him this is constant, intelligent theater-going. He must be
+familiar with all of the plays of the season and with all of the
+prominent plays of all seasons. A child cannot criticize the first play
+that he sees because he has nothing with which to compare it. In the
+same way a reporter cannot justly judge any kind of play until he has
+seen another of the same kind with which to compare it. Hence he must
+know many plays and must know something about the history of the
+theater. Dramatic criticism is relative and the critic must have a basis
+for his comparison.
+
+This background of knowledge may seem a difficult thing to acquire. It
+is; and it can best be acquired by watching many plays with an eye for
+the technique of the art. The critic may judge a play from its effect
+upon him, but his judgment will be superficial. He must try to see what
+the playwright is trying to do, how well he succeeds, what tricks he
+employs. He must judge the work of the stage carpenter and of the
+costumer. He must try to realize what problem the leading lady has to
+face and how well she solves it. The same carefulness of judgment must
+be given to each member of the cast. Only when the critic is able to see
+past the footlights and to understand the technique of the art, can he
+judge intelligently. And as his judgment can be at best only relative,
+he must have a background of many plays and much stage knowledge upon
+which to base his estimate of any one production.
+
+The ideal criticism, based upon this background of knowledge, would be
+absolutely fair and unprejudiced. But unfortunately this ideal cannot
+always be followed. Much dramatic criticism is colored by the policy of
+the paper that prints it. Very few critics are so fortunate as to be
+able to say exactly what they think about a play; they must say what the
+editor wants them to say. Some theatrical copy, especially write-ups of
+vaudeville shows, is paid for and must contain nothing but praise.
+Sometimes it is necessary to praise the poorest production simply
+because the paper is receiving so much a column for the praise. In many
+other cases, when the copy is not paid for, the editor often considers
+it only fair to give the production a little puff in return for the free
+press tickets. And so a large share of any reporter's dramatic criticism
+is reduced to selecting things that he can praise. Yet, one cannot
+praise in a way that is too evident; he cannot simply say "The play was
+good; the staging was good; the acting was good; in fact, everything was
+good." He must praise more cleverly and give his copy the appearance of
+honest criticism. Perhaps the principle is wrong, but nevertheless it
+exists and happy is the dramatic critic whose paper allows him to say
+exactly what he thinks. However, whether one may say what he thinks or
+must say what his editor wants him to say, he must have as his
+background a thorough knowledge of the stage upon which he may base a
+comparison or a contrast and with which he may make intelligent
+statements. The following illustrates what may be done with a paid
+report of a mediocre vaudeville show in which every act must be
+praised--the report was written on Monday of a week's run and is
+intended to induce people to see the show:
+
+             |  This week's bill at ---- Vaudeville     |
+             |Theatre is dashed onto the boards by a    |
+             |very exciting act, "The Flying Martins,"  |
+             |whose thrilling tricks put the audience   |
+             |in a proper state of mind for the         |
+             |sparkling and laughable program that      |
+             |follows--a state of mind that keeps its   |
+             |high pitch without a break or let-down to |
+             |the very end of Dr. Herman's              |
+             |side-splitting electrical pranks. This    |
+             |man, who has truly "tamed electricity,"   |
+             |does many remarkable things with his big  |
+             |coils and high voltage currents and plays |
+             |many extremely funny tricks upon his row  |
+             |of "unsuspecting-handsome" young          |
+             |volunteers.                               |
+             |                                          |
+             |  The musical little playlet, "The Barn   |
+             |Dance," is very jokingly carried off by   |
+             |its Jack-of-all-Trades, "Zeke," the       |
+             |constable, and its pretty little ensemble |
+             |song, "I'll Build a Nest for You." Many a |
+             |young husband can get pointers on "home   |
+             |rule" from "Baseballitis;" it is a mighty |
+             |good presentation of the "My Hero" theme  |
+             |in actual life. Hilda Hawthorne gives us  |
+             |some high-class ventriloquism with a good |
+             |puppet song that is truly wonderful.      |
+             |There's a lot of good music, very good    |
+             |music in the sketch executed by "The      |
+             |Three Vagrants," as well as a lot of fun; |
+             |one can hardly realize what an amount of  |
+             |melody an old accordion contains. Audrey  |
+             |Pringle and George Whiting have a hit     |
+             |that is sparkling with quick changes from |
+             |Irish love songs to bull frog croaking    |
+             |with Italian variations.                  |
+
+For the purpose of a more complete study of the subject, however, we
+shall consider only dramatic criticism that is not restricted by
+editorial dictum or by the requirements of paid-space. That is, we shall
+imagine that we can praise or condemn or say anything we please
+concerning the dramatic production which we are to report. When we look
+at the subject in this way there are some positive things that may be
+said about theatrical reporting, but there are many more negative rules,
+that may be reduced to mere "Don'ts." The same principles hold good in
+dramatic criticism that is hampered by policy, but to a less degree.
+
+In the first place, the one thing that a dramatic reporter must have
+when he begins to write his copy after the performance is some positive
+idea about the play, some definite criticism, upon which to base his
+whole report. It is impossible to write a coherent report from chance
+jottings and to confine the report to saying "This was good; that was
+bad, the other was mediocre." The critic must have a positive central
+idea upon which to hang his criticism. This central idea plays the same
+part in his report as the feature in a news story--it is the feature of
+his report which he brings into the first sentence, to which he attaches
+every item, and with which he ends his report. To secure this idea, the
+reporter must watch the play closely with the purpose of crystallizing
+his judgment in a single conception, thought, or impression. Sometimes
+this impression comes as an inspiration, sometimes it is the result of
+hard thought during or after the play. It may be concerned with the
+theme of the play, the playwright's work, the lines, the staging, the
+effects, the tricks, the acting as a whole, the acting of single
+persons, the music, the dancing, the costumes--anything connected with
+the production--but the idea must be big enough to carry the entire
+report and to be the gist of what the critic has to say about the play.
+It must be his complete, concise opinion of the performance.
+
+When, as the critic watches the play, some idea comes to him for his
+report he should jot it down. As the play progresses he should develop
+this idea and watch for details that carry it out. There is no reason to
+be ashamed of taking notes in the theater and the notes will prove very
+useful at the office afterward. Perhaps after the play is over the
+critic finds that his jottings contain another idea that is of greater
+importance than the first; then he may incorporate the second into the
+first or discard the first altogether. Even after one has crystallized
+his judgment into a concise opinion he must elaborate and illustrate it
+and the program of the play is always of value in enabling one to refer
+definitely to the individual actors, characters, and other persons, by
+name. But, however complete the final judgment and the notes may be, it
+is always well to write the report immediately. When one leaves the
+theater his mind is teeming with things to say about the play, thousands
+of them, but after a night's sleep it is doubtful if a single full-grown
+idea will remain and the jottings will be absolutely lifeless and
+unsuggestive.
+
+This is the positive instruction that may be given to young dramatic
+critics. It is so important and is unknown to so many young theatrical
+reporters, that it may be well to sum it up again. A dramatic criticism
+must be coherent; it must be unified. It must be the embodiment of a
+single idea about the play and every detail in the report must be
+attached to that idea. It is not sufficient to state the idea in a
+clever way; it must be expanded and elaborated with examples and reasons
+and must show careful thought. It is well to outline the report before
+it is written and to arrange a logical sequence of thought so that the
+result may be well-rounded and coherent.
+
+The following is an example of a dramatic criticism in which this course
+is followed. It neither praises nor condemns but it points out gently
+wherein the play is strong or weak--and every sentence is attached to
+one central idea:
+
+
+             |           A POLITE LITTLE PLAY.          |
+             |                                          |
+             |  Never raise your voice, my dear Gerald. |
+             |That is the only thing left to            |
+             |distinguish us from the lower classes.    |
+             |_Lord Wynlea in "The Best People"._       |
+
+             |  The new comedy at the Lyric Theatre is  |
+             |written in accordance with Lord Wynlea's  |
+             |dictum quoted above. It is mannerly, well |
+             |poised, ingratiating and deft. As a minor |
+             |effort in the high comedy style it is     |
+             |welcome, because it affords a respite     |
+             |from the "plays with a punch" and the     |
+             |prevalent boisterous specimens of the     |
+             |work of yeomen who go at the art of       |
+             |dramatic writing with main strength.      |
+             |                                          |
+             |  "The Best People" is by Frederick       |
+             |Lonsdale and Frank Curzen, who manifestly |
+             |know some of them. It was done at         |
+             |Wyndham's Theatre in London, and we think |
+             |that in a comfortable English playhouse,  |
+             |with tea between acts and leisurely       |
+             |persons with whom to visit in the foyer,  |
+             |it would make an agreeable matinee.       |
+             |Certainly it is admirably acted here, and,|
+             |as has been intimated, its quiet drollery |
+             |and its polite maneuvering make it a      |
+             |relief.                                   |
+             |                                          |
+             |  Whether American audiences, used to     |
+             |stronger fare than tea at the theatre,    |
+             |will find it sustaining is a question that|
+             |would seem to be answered by the          |
+             |announcement, just received from the      |
+             |Lyric, that the engagement closes next    |
+             |Saturday evening.                         |
+             |                                          |
+             |  The fable relates how the Honorable Mrs.|
+             |Bayle discovered that her husband and Lady|
+             |Ensworth had been flirting with peril     |
+             |during her absence in Egypt, how she      |
+             |blithely threw them much together, with   |
+             |the result that they grew intensely weary |
+             |of each other, and how at last everybody  |
+             |concerned was happily and sensibly        |
+             |reconciled.                               |
+             |                                          |
+             |  The spirit of the piece is sane and     |
+             |"nice," the decoration of it whimsical and|
+             |graceful.                                 |
+             |                                          |
+             |  Miss Lucille Watson, embodying the      |
+             |spirit of witty mischief, gives a very    |
+             |fine performance of the part of Mrs.      |
+             |Bayle, a "smart," good woman, and Miss    |
+             |Ruth Shepley is excellent in byplay and   |
+             |flutter as a silly, good woman.           |
+             |                                          |
+             |  Cyril Scott is graceful and vigorous as |
+             |a philandering husband, Dallas Anderson   |
+             |comical as a London clubman with a keener |
+             |relish in life than he is willing to      |
+             |betray, and William McVey wise, paternal  |
+             |and weighty in that kind of a part.       |
+             |                                          |
+             |  "The Best People" is a pleasant spring  |
+             |fillip.                                   |
+
+The first admonition in theatrical reporting is "Don't resume the plot
+or tell the story of the play." This is almost all that many dramatic
+reporters try to do, because it is the easiest thing to do and requires
+the least thought. But, after all, it is usually valueless. The story of
+the play does not interest readers who have already seen the play and it
+spoils the enjoyment of the play for those who intend to see it. The
+usual purpose of any theatrical report is to criticize, but a report
+that simply resumes the story of the play is not a criticism; hence
+space devoted to the story is usually wasted. To be sure, this
+admonition must be qualified. If the development of the critic's
+judgment of the play requires a resume of the story, there is then a
+reason for outlining the action. However, even then, the outline should
+be very brief.
+
+The following is a typical example of the usual dramatic reporting
+which is satisfied when it has told the story of the play. In this, the
+first two sentences are a very bald attempt to repay the manager for his
+tickets. The resume of the story, given very obviously to fill space, is
+not of any critical value. The only real criticism is at the end and is
+inadequate because the praise is given without reason.
+
+             |  Grace George and her small but          |
+             |excellent company of artists added one    |
+             |more to their long list of successful     |
+             |performances last night in the production |
+             |of Geraldine Bonner's clever comedy of    |
+             |modern life, "Sauce for the Goose," at    |
+             |the ---- Theatre. That the moody and      |
+             |sparkling Miss George has a good claim to |
+             |the title of America's leading            |
+             |comedienne, no one who saw the            |
+             |performance last evening could deny. In   |
+             |this piece she is cast for the part of    |
+             |Kitty Constable, who is in the third year |
+             |of her married life and living with her   |
+             |husband in New York City. Mr. Constable   |
+             |has been engaged in writing a book on the |
+             |emancipation of woman and as a result has |
+             |come to neglect his pretty little wife    |
+             |and seek the companionship of a certain   |
+             |woman of great intellect, Mrs. Alloway,   |
+             |who leads him on by an affected sympathy  |
+             |with his work. He chides his wife for her |
+             |seeming negligence of the culture of her  |
+             |mind, telling her that she lacks grey     |
+             |matter. The climax comes when Mr.         |
+             |Constable tries to get away from his wife |
+             |on the evening of their wedding           |
+             |anniversary to dine with Mrs. Alloway.    |
+             |Kitty tries the emancipated woman idea    |
+             |and goes to the opera with another man    |
+             |and has dinner with him in his            |
+             |apartments. She lets her husband know of  |
+             |her plans and he comes to the room in a   |
+             |rage. By thus playing first on his        |
+             |jealousy and then by ridiculing his       |
+             |ideas, she wins him back to herself. The  |
+             |company was made up of artists and there  |
+             |was not a crude spot in the whole         |
+             |performance. The part of Harry Travers,   |
+             |the friend of Mrs. Constable's, was       |
+             |excellently done by Frederick Perry, as   |
+             |was that of Mr. Constable by Herbert      |
+             |Percy. Probably the most difficult        |
+             |character in the play to portray was that |
+             |of the "woman's rights" woman, Mrs.       |
+             |Alloway, which was most admirably done by |
+             |Edith Wakeman.                            |
+
+The word criticism must not lead the reporter to think that, as a
+critic, his only function is to find fault. To criticize may mean to
+praise as well as to condemn. If the critic is not restricted by the
+policy of his paper, he should be as willing to praise as to condemn,
+and vice versa. But whichever course he takes he must be ready to defend
+his criticism and to tell why he praises or why he condemns. There is
+always a tendency to praise a play in return for the free tickets; this
+should be put aside absolutely. The critic owes something to the public
+as well as to the manager. If the play seems to him to be bad, he must
+say so without hesitation and he must tell why it is bad. Too many
+really bad plays are immensely advertised by a critic's undefended
+statement that they are not fit to be seen. Had the critic given
+definite reasons for his condemnation, his criticism might have
+accomplished its purpose. In the same way it is useless to say simply
+that a play is good. Its good points must be enumerated and the reader
+must be told why it is good.
+
+However, criticism must be written with delicacy. If your heart tells
+you to praise, praise; if your heart tells you to condemn, condemn with
+care. Remember that your condemnation may put the play off the boards or
+at least hurt its success, and there must be sufficient reason for such
+radical action. The critic's debt to the public is large, but he owes
+some consideration to the manager. He must hesitate before he says
+anything that may ruin the manager's business. Critics very often
+condemn a play for trivial reasons; they feel indisposed, perhaps
+because their dinner has not agreed with them, the play does not fit
+into their mood and they turn in a half column of ruinous condemnation.
+Perhaps they like a certain kind of production--farces, for
+instance--and systematically vent their ire on every tragedy and every
+musical comedy. They do not use perspective; they do not judge the stage
+as a whole. No matter how poor a play is or how much a critic dislikes
+it, he must consider what the stage people are trying to do and judge
+accordingly. In many cases it is not the individual play that deserves
+adverse criticism, but the kind of play. All of these things must be
+considered; every dramatic critic must have perspective. He must be fair
+to the stage people and to the public; his influence is greater than he
+may imagine.
+
+No matter how strong the occasion for condemnation may be, the dramatic
+critic is never justified in speaking bitterly. The poor production is
+not a personal offense against him nor against the public. It is simply
+a bad or an unworthy attempt and his duty is confined to pointing how or
+why it is not worthy. That does not mean that he is justified in using
+bitter, abusive, or even sarcastic language. It is great sport to make
+fun of things and to exercise one's wits at some one's else expense--it
+is also easy--but that is not dramatic criticism. The public asks the
+critic to tell them calmly and fairly, even coldly, the reasons for or
+against a production--the reasons why they should, or should not, spend
+their money to see it--bitter sarcasm overreaches the mark. Just as soon
+as a critic tries to be personal in his remarks on a play he is
+exceeding his prerogative and is open to serious criticism himself.
+
+The necessary attributes of a dramatic reporter, as we have seen, are:
+fairness, logical thinking, and a background of stage knowledge. And of
+these three, the background is of the greatest importance; it is the
+stimulus and the check for the other two. The more a critic can know
+about every phase of the theatrical profession, contemporary or
+historical, the better will be his criticisms. The more knowledge of the
+stage that his copy shows, the more greedily will his readers look for
+his "Theatrical News" each day. However clear his idea of a play may be
+he cannot express it clearly and readably without a background of other
+plays to refer to. And, by the same sign, a wealth of allusions and a
+quantity of theatrical lore will often carry a critic past many a play
+concerning which he is unable to form a clear opinion. To develop your
+ability as a dramatic reporter, watch the theatrical criticisms in
+reputable dailies and weeklies and learn from them.
+
+
+
+
+XVII
+
+
+STYLE BOOK
+
+    _Being a copy of the Style Book compiled for the Course in
+        Journalism of the University of Wisconsin from the style
+        books of many newspapers._
+
+
+=1. Capitalize:=
+
+    All proper nouns: Smith, Madison, Wisconsin.
+
+    Months and days of the week, but not the seasons of the year: April,
+      Monday; but autumn.
+
+    The first word of every quotation, enumerated list, etc., following
+      a colon.
+
+    The principal words in the titles of books, plays, lectures,
+      pictures, toasts, etc., including the initial "a" or "the": "The
+      Merchant of Venice," "Fratres in Urbe." If a preposition is
+      attached to or compounded with the verb capitalize the preposition
+      also: "Voting _For_ the Right Man."
+
+    The names of national political bodies: House, Senate, Congress, the
+      Fifty-first Congress.
+
+    The names of national officers, national departments, etc.:
+      President, Vice President, Navy Department, Department of Justice
+      (but not bureau of labor), White House, Supreme Court (and all
+      courts), the Union, Stars and Stripes, Old Glory, Union Jack,
+      United States army, Declaration of Independence, the (U. S.)
+      Constitution, United Kingdom, Dominion of Canada.
+
+    All titles preceding a proper noun: President Taft, Governor-elect
+      Wilson, ex-President Roosevelt, Policeman O'Connor.
+
+    The entire names of associations, societies, leagues, clubs,
+      companies, roads, lines, and incorporated bodies generally: Mason,
+      Odd Fellow, Knights Templar, Grand Lodge of Knights of Pythias,
+      Woman's Christian Temperance Union, Wisconsin University, First
+      National Bank, Schlitz Brewing Company (but the Schlitz brewery),
+      Metropolitan Life Insurance Company, Chicago and Northwestern
+      Railway Company, the Association of Passenger and Ticket Agents of
+      the Northwest, Clover Leaf Line, Rock Island Road, Chicago Board
+      of Trade, New York Stock Exchange (but the board of trade and the
+      stock exchange).
+
+    The names of all religious denominations, etc.: Catholic,
+      Protestant, Mormon, Spiritualist, Christian Science, First
+      Methodist Church (but a Methodist church), the Bible, the Koran,
+      Christian, Vatican, Quirinal, Satan, the pronouns of the Deity.
+
+    The names of all political parties (both domestic and foreign):
+      Republican, Socialism, Socialist, Democracy, Populist, Free
+      Silverite, Labor party, (but anarchist).
+
+    Sections of the country: the North, the East, South America;
+      southern Europe.
+
+    Nicknames of states and cities: The Buckeye State, the Hub, the
+      Windy City.
+
+    The names of sections of a city and branches of a river, etc.: the
+      East Side, the North Branch.
+
+    The names of stocks in the money market: Superior Copper, Fourth
+      Avenue Elevated.
+
+    The names of French streets and places: Rue de la Paix, Place de la
+      Concorde.
+
+    Names of automobiles: Peerless, the White Steamer, Pierce Arrow.
+
+    Names of holidays: Fourth of July, Christmas, New Year's day,
+      Thanksgiving day.
+
+    Names of military organizations: First Wisconsin Volunteers,
+      Twenty-third Wisconsin Regiment, Second Army Corps, second
+      division Sixth Army Corps, National Guard, Ohio State Militia,
+      First Regiment armory, the militia, Grand Army of the Republic.
+
+    The names of all races and nationalities (except negro): American,
+      French, Spanish, Chinaman.
+
+    The nicknames of baseball clubs: the White Sox, the Cubs.
+
+    Miscellaneous: la France, Irish potatoes, Enfield rifle, American
+      Beauty roses.
+
+
+=2. Capitalize when following a proper noun:= Bay, block, building,
+canal, cape, cemetery, church, city, college, county, court (judicial),
+creek, dam, empire, falls, gulf, hall, high school, hospital, hotel,
+house, island, isthmus, kindergarten, lake, mountain, ocean, orchestra,
+park, pass, peak, peninsula, point, range, republic, river, square,
+school, state, strait, shoal, sea, slip, theatre, university, valley,
+etc.: South Hall, Park Hotel, Hayes Block, Singer Building, Dewey
+School, South Division High School, Superior Court, New York Theatre,
+Beloit College, Wisconsin University, Capitol Square.
+
+
+=3. Do not capitalize when following a proper name:= Addition, avenue,
+boulevard, court (a short street), depot, elevator, mine, place,
+station, stockyards, street, subdivision, ward, etc.: Northwestern
+depot, Pinckney street station, Third ward, Harmony court, Amsterdam
+avenue, Broad street, Wingra addition, Washington boulevard, Winchester
+place.
+
+
+=4. Capitalize when preceding a proper noun:=--All titles denoting rank,
+occupation, relation, etc. (do not capitalize them when they follow the
+noun): alderman, ambassador, archbishop, bishop, brother, captain,
+cardinal, conductor, congressman, consul, commissioner, councilman,
+count, countess, czar, doctor, duke, duchess, earl, emperor, empress,
+engineer, father, fireman, governor, her majesty, his honor, his royal
+highness, judge, mayor, motorman, minister, officer, patrolman,
+policeman, pope, prince, princess, professor, queen, representative,
+right reverend, senator, sheriff, state's attorney, sultan: Alderman
+John Smith (but John Smith, alderman), Senator La Follette (but Mr. La
+Follette, senator from Wisconsin).
+
+The same rule applies when the following words precede a proper noun as
+part of a name: bay, cape, city, college, county, empire, falls, gulf,
+island, point, sea, state, university, etc.: City of New York, Gulf of
+Mexico, University of Wisconsin, College of the City of New York,
+College of Physicians and Surgeons.
+
+
+=5. Do not capitalize:=
+
+    The names of state bodies, etc.: the senate, house, congress,
+      speaker, capitol, executive mansion, revised statutes. (These are
+      capitalized only when they refer to the national government:
+      e. g., the capitol at Madison, the Capitol at Washington.)
+
+    The names of city boards, departments, buildings, etc.: boards,
+      bureaus, commissions, committees, titles of ordinance, acts,
+      bills, postoffice, courthouse (unless preceded by proper noun),
+      city hall, almshouse, poorhouse, house of correction, county
+      hospital, the council, city council, district, precinct: e. g.,
+      the fire department, the tax committee.
+
+    Certain other governmental terms: federal, national, and state
+      government, armory, navy, army, signal service, custom-house.
+
+    Points of the compass: east, west, north, south, northeast, etc.
+
+    The names of foreign bodies: mansion-house, parliament, reichstag,
+      landtag, duma.
+
+    Common religious terms: the word of God, holy writ, scriptures, the
+      gospel, heaven, sacred writings, heathen, christendom,
+      christianize, papacy, papal see, atheist, high church, church and
+      state, etc.
+
+    The court, witness, speaker of the chair, in dialogues.
+
+    Scientific names of plants, animals, and birds: formica rufa.
+
+    a. m., p. m., and m. (meaning a thousand); "ex-" preceding a title.
+
+    The names of college classes: freshman, sophomore.
+
+    College degrees when spelled out: bachelor of arts; but B. A.
+
+    Seasons of the year: spring, autumn, etc.
+
+    Officers in local organizations (election of officers); president,
+      secretary, etc.
+
+    Certain common nouns formed from proper nouns: street arab, prussic
+      acid, prussian blue, paris green, china cup, india rubber,
+      cashmere shawl, half russia, morocco leather, epsom salts,
+      japanned ware, plaster of paris, brussels and wilton carpets,
+      valenciennes and chantilly lace, vandyke collar, valentine,
+      philippic, socratic, herculean, guillotine, derby hat, gatling
+      gun.
+
+
+=6. Punctuation:=
+
+    Omit periods after nicknames: Tom, Sam, etc.
+
+    Always use a period between dollars and cents and after per cent.,
+      but never after c, s, and d, when they represent cents, shillings,
+      and pence: $1.23, 10 per cent., 2s 6d.
+
+    Punctuate the votes in balloting thus: Yeas, 2; nays, 3.
+
+    Punctuate lists of names with the cities or states to which the
+      individuals belong thus: Messrs. Smith of Illinois, Samson of West
+      Virginia, etc. If the list contains more than three names, omit
+      the "of" and punctuate thus: Smith, Illinois; Samson, West
+      Virginia; etc. Where a number of names occurs with the office
+      which they hold, use commas and semicolons, thus: J. S. Hall,
+      governor; Henry Overstoltz, mayor; etc.
+
+    Never use a colon after viz., to wit, namely, e. g., etc., except
+      when they end a paragraph. Use a colon, dash, or semicolon before
+      them and commas after them, thus: This is the man; to wit, the
+      victim.
+
+    "Such as" should follow a comma and have no point after it: "He saw
+      many things, such as men, horses, etc."
+
+    Set lists of names thus without points:
+
+            Mesdames--           George V. King
+            Charles C. Knapp     Henry A. Lloyd
+            John H. Cole Jr.
+
+    Do not use a comma between a man's name and the title "Jr." or "Sr."
+      as John Jones Jr.
+
+    Use the apostrophe to mark elision: I've, 'tis, don't, can't, won't,
+      canst, couldst, dreamt, don'ts, won'ts, '80s.
+
+    Use the apostrophe in possessives and use it in the proper place:
+      the boy's clothes, boys' clothes, Burns' poems, Fox's Martyrs,
+      Agassiz's works, ours, yours, theirs, hers, its (but "it's" for it
+      is). George and John's father was a good man; Jack's and Samuel's
+      fathers were not.
+
+    Do not use the apostrophe when making a plural of figures, etc.: all
+      the 3s, the Three Rs.
+
+    Do not use the apostrophe in Frisco, phone, varsity, bus.
+
+    Use an em dash after a man's name when placed at the beginning in
+      reports of interviews, speeches, dialogues, etc.: John Jones--I
+      have nothing to say. (No quotation marks.)
+
+    In a sentence containing words inclosed in parentheses, punctuate as
+      if the part in parentheses were omitted: if there is any point put
+      it after the last parenthesis.
+
+    Use brackets to set off any expression or remark thrown into a
+      speech or quotation and not originally in it: "The Republican
+      party is again in power--[cheers]--and is come to stay."
+
+    Use the conjunction "and" and a comma before the last name in a list
+      of names, etc.: John, George, James, and Henry.
+
+    Use no commas in such expressions as 6 feet 3 inches tall, 3 years 6
+      months old, 2 yards 4 inches long.
+
+    Punctuate scores as follows: Wisconsin 8, Chicago 0.
+
+    Punctuate times in races, etc.: 100-yard dash--Smith, first; Jones,
+      second. Time, 0:10 1-5.
+
+    Peters carried the ball thirty yards to the 10-yard line.
+
+
+=7. Date lines:=
+
+    Punctuate date lines as follows:
+
+      MADISON, Wis., Jan. 25.--
+
+      Do not use the name of the state after the names of the larger
+      cities of the country, such as New York, Chicago, Boston,
+      Philadelphia, Baltimore, San Francisco, Seattle. Abbreviate the
+      names of months which have more than five letters.
+
+
+=8. Quoting:=
+
+    Quote all extracts and quotations set in the same type and style as
+      the context, but do not quote extracts set in smaller type than
+      the context or set solid in separate paragraphs in leaded matter.
+
+    Quote all dialogues and interviews, unless preceded by the name of
+      the speaker or by "Question" and "Answer":
+
+      "I have nothing to say," answered Mr. Smith.
+      William Smith--I have nothing to say.
+      Question--Were you there?
+      Answer--I was.
+
+    Quote the names of novels, dramas, paintings, statuary, operas, and
+      songs: "The Brass Bowl," "Il Trovatore."
+
+    Quote the subjects of addresses, lectures, sermons, toasts, mottoes,
+      articles in newspapers: "The Great Northwest," "Our Interests."
+
+    Be sure to include "The" in the quotation of names of books,
+      pictures, plays, etc.: "The Fire King"; not the "Fire King";
+      unless the article is not a part of the name.
+
+    Do not quote the names of theatrical companies, as Her Atonement
+      Company.
+
+    Do not quote the names of characters in plays, as Shylock in "The
+      Merchant of Venice."
+
+    Do not quote the names of newspapers. In editorials put "The Star"
+      in italics, but in "The Kansas City Star" put "Star" in italics
+      and use no quotation marks.
+
+    Do not quote the names of vessels, fire engines, balloons, horses,
+      cattle, dogs, sleeping cars.
+
+
+=9. Compounds and Divisions:=
+
+    Omit the hyphen when using an adverb compounded with -ly before a
+      participle: a newly built house.
+
+    Use a hyphen after prefixes ending in a vowel (except bi and tri)
+      when using them before a vowel: co-exist. When using such a prefix
+      before a consonant do not use the hyphen except to distinguish the
+      word from a word of the same letters but of different meaning:
+      correspondent, but co-respondent (one called to answer a summons);
+      recreation, but re-create (to create anew) reform, but re-form (to
+      form again); re-enforced; biennial, etc.
+
+    Do not use the hyphen in the names of rooms when the prefix is of
+      only one syllable: bedroom, courtroom, bathroom, etc. (except blue
+      room, green room, etc.).
+
+    When the prefix is of more than one syllable use the hyphen. Follow
+      the same rule in making compounds of house, shop, yard, maker,
+      holder, keeper, builder, worker: shipbuilder, doorkeeper.
+
+    In dividing at the end of a line:
+
+      Do not run over a syllable of two letters.
+      Do not divide N. Y., M. P., LL. D., M. D., a. m., p. m., etc.
+      Do not divide figures thus: 1,-000,000; but thus 1,000,-000.
+      Do not divide a word of five letters or less.
+
+
+=10. Figures:=
+
+    Use figures for numbers of a hundred or over, except when merely a
+      large or indefinite number is intended: twenty-three, 123, about
+      a thousand, a dollar, a million, millions, a thousand to one,
+      from four to five hundred.
+
+    Use figures for numbers of less than 100 when they are used in
+      connection with larger numbers: There were 33 boys and 156 girls;
+      there were 106 last week and 16 this week.
+
+    Use figures for hours of the day: at 7 p. m.; at 8:30 this morning.
+
+    Use figures for days of the month: April 30, the 22nd of May.
+
+    Use figures for ages: he was 12 years old; little 2-year-old John.
+      If the words "2-year-old John" begin a sentence or headline, spell
+      out the age.
+
+    Use figures for dimensions, prices, degrees of temperature, per
+      cents., dates, votes, times in races, scores in baseball, etc.: 3
+      feet long, $3 a yard, 76 degrees, Jan. 14, 1906. Time of
+      race--2:27.
+
+    Use figures for all sums of money: $24, $5.06, 75 cents.
+
+    Use figures for street numbers: 1324 Grand avenue.
+
+    Use figures for numbered streets and avenues above 99th; spell out
+      below 100th: 123 Twenty-third avenue, 10 East 126th street.
+
+    Use figures in statistical or tabular matter; never use ditto
+      marks.
+
+    Use figures, period, and en quad for first, second, etc.: 1.--,
+      2.--.
+
+    Do not begin a sentence or paragraph with figures; supply a word if
+      necessary or spell out: At 10 o'clock; Over 300 men.
+
+    Do not use the apostrophe to form plurals of figures: the 4s, rather
+      than the 4's.
+
+    In all texts from the Bible set the chapters in Roman numerals and
+      the verses in figures: Matt. xxii. 37-40; I. John v. 1-15. In
+      Sunday school lessons say Verse 5.
+
+    Say three-quarters of 1 per cent.; not 3/4 of 1 per cent.
+
+    Set tenths, hundreds, etc., in decimals: 1.1; 2.03.
+
+
+=11. Abbreviations:=
+
+    Abbreviate the following titles and no others, when they precede a
+      name: Rev., Dr., Mme., Mlle., Mr., Mrs., Mgr. (Monsignore), M.
+      (Monsieur).
+
+        Do not put Mr. before a name when the Christian name is given
+      except in society news and editorials: Mr. Johnson; but Samuel L.
+      Johnson.
+
+        Supply Mr. in all cases when Rev. is used without the Christian
+      name: Rev. Henry W. Beecher; but Rev. Mr. Beecher.
+
+        Never use "Honorable" or the abbreviation thereof except with
+      foreign names, in editorials, or in documents.
+
+    Abbreviate thus: Wash., Mont., S. D., N. D., Wyo., Cal., Wis.,
+      Colo., Ind., Id., Kan., Ariz., Okla., Me. Do not abbreviate
+      Oregon, Iowa, Ohio, Utah, Alaska, or Texas.
+
+    Abbreviate thus: Madison, Dane County, Wis.: but Dane County,
+      Wisconsin.
+
+    Use the abbreviations U. S. N. and U. S. A. after a proper name.
+
+    Y. M. C. A., W. C. T. U., M. E. are good abbreviations.
+
+    Abbreviate names of months when preceding date only when the month
+      contains more than five letters: Jan. 20; but April 20. When the
+      date precedes the month in reading matter spell it out: the 13th
+      of January; the 26th inst.
+
+    Abbreviate "Number" before figures: No. 10.
+
+    Abbreviate contract, article, section, question, answer, after the
+      first in bills, by-laws, testimony, etc.: Section 1., Sec. 2.;
+      Question--, Answer--, Q.--, A.--.
+
+    Do not abbreviate railway, company, the names of streets, wards,
+      avenues, districts, etc.: Madison Street Railway Company; State
+      street, Monona avenue.
+
+        Street and avenue are sometimes abbreviated in want-ads:
+      State-st, Monona-av.
+
+        Spell out numbered streets and avenues up to 100th:
+      Thirty-fourth street, 134th street.
+
+    Use & in names of firms, but use the long "and" in names of
+      railroads. Use Etc. and not &c.; use Brothers and not Bros.
+      (except in ads); use & only when necessary to abbreviate in
+      stocks.
+
+    Do not abbreviate the names of political parties except in election
+      returns, then: Dem., Rep., Soc., Lab., Ind., Pro., Un. Cit.
+
+    Put in necessary commas in abbreviating railroad names: C., M. & St.
+      P. Ry. (Chicago, Milwaukee and St. Paul Railway); C., C., C. & St.
+      L. R. R. (Cleveland, Cincinnati, Chicago and St. Louis Railroad).
+
+    Abbreviate without periods in market review and quotations: 25c, bu,
+      brls, tcs, pkgs, f o b, p t, etc. Spell out centimes except when
+      given thus: 10f 20c.
+
+    Do not abbreviate Fort and Mount: Fort Wayne, Mount Vernon.
+
+
+=12. Preparation of Copy:=
+
+    Use a typewriter or write legibly; some one must read your copy.
+
+    If you write with a typewriter, double or triple space your copy;
+      never use single space.
+
+    Don't write on more than one side of the paper.
+
+    Leave sufficient margin for corrections and leave a space at the top
+      of the first page for headlines; leave an inch at the top of each
+      page.
+
+    Don't put more than one story on a single sheet of paper.
+
+    Don't trust the copy-reader to fill in blanks or to correct
+      misspelled names. If you write by hand print out proper names as
+      legibly as possible; underscore _u_ and overscore _n_.
+
+    Don't assume that the copy-reader, the proofreader, or the editor
+      will punctuate for you, or eliminate all superfluous punctuation.
+
+    Remember that uniformity is more to be desired than a strict
+      following of style.
+
+    Don't turn in copy without re-reading carefully and verifying all
+      names and addresses.
+
+    Use short paragraphs; always paragraph the lead separately; indent
+      paragraphs distinctly.
+
+    Don't write over figures or words; scratch out and rewrite.
+
+    Number your pages; when pages are inserted use letters: pages 2, 3a,
+      3b, 4, 5.
+
+    A circle around an abbreviation or a figure indicates that the word
+      or number is to be spelled out. A circle around a spelled-out word
+      or number indicates that it is to be abbreviated or run in
+      figures.
+
+    Mark the end of your story, thus: # # #
+
+
+=13. Don'ts:=
+
+    Don't use "Honorable" or abbreviations thereof, except in extracts
+      from speeches or documents, in editorials, or before foreign
+      names.
+
+    Don't add final s to afterward, toward, upward, downward, backward,
+      earthward, etc.
+
+    Don't use "signed" before the signature of a letter or document; run
+      signature in caps.
+
+    Don't begin a sentence or paragraph with figures; insert a word
+      before the figures or spell out.
+
+    Don't use commas in dates or in figures which denote the number of a
+      thing, as A. D. 1908, 2324 State street, Policy 33815; in other
+      cases use the comma, as $5,289; 1,236,400 people.
+
+    Don't forget that the following are singular and require singular
+      verbs: sums of money, as $23 was invested; United States; anybody,
+      everybody, somebody, neither, either, none; whereabouts, as "His
+      whereabouts is known."
+
+    Don't forget that things OCCUR by chance or accident, and that
+      things TAKE PLACE by arrangement.
+
+    Don't "sustain" broken legs and other injuries.
+
+    Don't "administer" punishment.
+
+    Don't confound "audiences," "spectators," and casual "witnesses."
+
+    Don't say "party" for "person."
+
+    Don't use "suicide," "loan," "scare," as verbs.
+
+    Don't use "gotten"; it is questionable; use "got."
+
+    Don't use "burglarize."
+
+    Don't use "transpire" for "occur."
+
+    Don't use "locate" for "find"; to locate a thing is to place it.
+
+    Don't use "stopped" for "stayed": He stayed at the Central Hotel.
+
+    Don't "tender" receptions nor "render" songs; use simply "give" and
+      "sing."
+
+    Don't "put in an appearance"; just appear.
+
+    Don't use "don't" for "doesn't."
+
+    Don't use "stated" for "said."
+
+    Don't say "per day" or "per year," but "a day," "a year"; per is a
+      Latin word and can be used only before a Latin noun, as "per diem"
+      or "per annum."
+
+    Don't say "the meeting convened"; members might convene but a single
+      body cannot.
+
+    Don't "claim that" anything is so; you can "claim" a thing,
+      however.
+
+    Don't say "Mrs. Dr. Smith," just "Mrs. Smith."
+
+    Don't say "between" when more than two are mentioned.
+
+    Don't use "proven" for "proved."
+
+    Don't confound "staid" with "stayed."
+
+    Don't say "different than," but "different from."
+
+    Don't split infinitives or other verbs.
+
+    Don't use "onto."
+
+    Don't use "babe" or "tot" for "baby" or "child."
+
+    Don't use superlatives when you can help it.
+
+    Don't use trite expressions or foreign words and phrases.
+
+    Don't use "corner of" in designating street location.
+
+    Don't say "died from operation," but "died after operation"--to
+      avoid danger of libel.
+
+    Don't get the _very_ habit.
+
+    Don't use "couple of" instead of "two."
+
+    Don't use Mr. before a man's full name.
+
+    Don't use slang unless it is fitting--which is seldom.
+
+    Don't mention the reporters, singly or collectively, unless it is
+      necessary. It rarely is.
+
+    Don't qualify the word "unique"; a thing may be "unique," but it
+      cannot be "very unique," "quite unique," "rather unique," or "more
+      unique."
+
+    Don't use the inverted passive: e. g., "A man was given a dinner,"
+      "Smith was awarded a medal."
+
+    Don't concoct long and improper titles: Justice of the Supreme Court
+      Smith, Superintendent of the Insurance Department Jones,
+      Groceryman Brown. If the title is long put it after the man's
+      name; thus: George Smith, justice of the Supreme Court.
+
+    Don't use the verb "occur" with weddings, receptions, etc.; they
+      take place by design and never unexpectedly.
+
+    Don't say "a number of," if you can help it. Be specific.
+
+    Don't use the word "lady" for "woman," or "gentleman" for "man."
+
+    Don't say "a man by the name of Smith," but "a man named Smith."
+
+    Don't use "depot" for "station"--railway passenger station.
+
+
+
+
+APPENDIX I
+
+
+SUGGESTIONS FOR STUDY
+
+These Suggestions for Study embody the method used in the course in News
+Story Writing in the Course in Journalism of the University of
+Wisconsin. The text of the several chapters corresponds to the lectures
+that are given in preparation for, and in connection with, the study of
+the various kinds of news stories. These Suggestions for Study
+correspond to the exercises by which the students learn the application
+of the principles embodied in the lectures. Hence these suggestions are
+given mainly from the instructor's point of view; however, a slight
+alteration will adapt them to home or individual study. Although they
+give very little practice in news gathering, they enable the student to
+gain practice in the writing of news--in accordance with the purpose of
+this book. The reporter who is studying the business in a newspaper
+office may use them to advantage in connection with his regular work.
+
+
+EXERCISES FOR THE FIRST CHAPTER
+
+     1. Collect clippings of representative news stories, printed in
+        the daily papers, to be used as models.
+
+     2. Keep a book of tips of expected news in your town or city.
+
+     3. Study news stories in your local paper and try to determine from
+        what source the original news tip came. Try to discover from the
+        story the routine of news gathering which furnished the facts.
+
+     4. In the same stories try to determine what persons were
+        interviewed; frame the questions that the reporter might have
+        asked to secure the facts. The instructor may impersonate
+        various persons in a given news story and have the students
+        interview him for the facts; this is to assist the student in
+        learning to keep the point of view and to keep him from asking
+        ridiculous questions.
+
+     5. Try to discover what stories in any newspaper are the result of
+        actual reporting by staff reporters--point out where the others
+        come from.
+
+     6. Notice the date line on stories that come from the outside, and
+        learn its form.
+
+
+EXERCISES FOR THE SECOND CHAPTER
+
+     1. Watch for local stories that seem to be worth sending out;
+        determine what element in them makes them worth sending out;
+        calculate how far from their source they would be worth
+        printing.
+
+     2. Study the news value of stories that are printed in the local
+        papers; determine why they were printed. Look for the same
+        things in stories with date lines in the local papers.
+
+     3. Determine what class of readers any given news story would
+        interest.
+
+     4. Notice the time element (timeliness) in newspaper stories.
+
+     5. Try to determine the radius of your local paper's personal news
+        sources: how near the printing office one must live to be worth
+        personal mention.
+
+     6. Watch for local stories whose news value depends upon the death
+        element, upon a prominent name, a significant loss of property,
+        mere unusualness, human interest, or personal appeal; see what
+        the local papers do with these stories and whether the local
+        correspondents send them out.
+
+     7. Analyze the nature of the personal appeal in stories that are
+        printed only for their personal appeal.
+
+     8. Notice how local reasons change the news values of local
+        stories.
+
+     9. In any or all of these stories determine what the feature is.
+        Distinguish between the fundamental incident which the story
+        reports and the additional significant feature which enhances
+        the news value of the fundamental incident.
+
+
+EXERCISES FOR THE THIRD CHAPTER
+
+
+     1. Run over the Style Book at the end of this book; note the
+        essential points in newspaper style.
+
+     2. Give the principal rules for the preparation of copy.
+
+     3. Glance over the "Don'ts" in the Style Book.
+
+
+EXERCISES FOR THE FOURTH CHAPTER
+
+
+     1. Study the form and construction of news stories, especially
+        simple fire stories.
+
+     2. Pick out the feature of each story--the additional incident in
+        the story which increases the news value of the story
+        itself--and see if the striking feature has been played up to
+        best advantage.
+
+     3. Notice how the reader's customary questions--what, where, when,
+        who, how, and why--are answered in the lead. Make a list of the
+        answers in any given story.
+
+
+EXERCISES FOR THE FIFTH CHAPTER
+
+     1. Collect good fire stories appearing in the newspapers. Study
+        the construction of the lead and the order in which the facts
+        are presented in the body of each story.
+
+     2. Write the leads of fire stories. The chances are that actual
+        fires will seldom occur at the time when the student wishes to
+        study the writing of fire stories, but the instructor may give
+        his class, orally or in writing, the facts of a fire story. He
+        may use imaginary facts or he may take the facts from a story
+        clipped from a newspaper--the latter method is better because it
+        enables the instructor to show the students, after they have
+        written their stories, just how the original story was written
+        in the newspaper office. The facts should be given in the order
+        in which a reporter would probably secure them in actual
+        reporting so that the student may learn to sort and arrange the
+        facts that he wishes to use, and to select the feature. The
+        instructor may even impersonate different persons connected with
+        the story and have the class interview him for the facts. This
+        method is to be followed throughout the whole study of news
+        story writing. (In individual study, practice may be secured
+        from writing up imaginary or real facts.)
+
+     3. In these first fire stories, use fires that have no interest
+        beyond the interest in the fire itself--that is, no feature.
+        Begin the story with "Fire" and devote the lead to answering the
+        reader's customary questions.
+
+     4. Look for newspaper fire stories that are not correctly written
+        and reconstruct the lead according to the logic of the fire
+        lead. That is, strive for conciseness and cut out details that
+        do not properly belong in the lead.
+
+     5. Make a list of the reader's customary questions concerning any
+        fire and write out the briefest possible answers. Then construct
+        a lead to embody these answers. Determine which answer should
+        come first and which last, according to importance.
+
+     6. Write the bodies of some of these stories. First list the facts
+        that are to be presented and determine the order of their
+        importance.
+
+     7. Emphasize the separateness and completeness of the two parts of
+        the story--the lead and the body of the story. Test the leads to
+        see if they would be clear in themselves without further
+        explanation.
+
+     8. Strive for brevity, conciseness and clearness; wage war on all
+        attempts at fine writing.
+
+
+EXERCISES FOR THE SIXTH CHAPTER
+
+     1. Study fire stories which have features--an interest beyond the
+        mere fire itself--and see how the newspapers write them.
+
+     2. In a feature fire story of Class I., make a list of the reader's
+        customary questions concerning the fire, as if it were a simple
+        fire story, and a list of the answers. See if any answer is more
+        interesting than the fire itself, or if its presence makes the
+        story more interesting. Show that such an answer is the feature.
+
+     3. Write fire stories with features in some one of the reader's
+        customary answers. (Class I.)
+
+     4. Study a simple fire story and try to imagine what
+        things--properly answers to the reader's customary
+        questions--might happen to give the fire greater news value.
+        This will show the student how to look for the feature of a
+        story.
+
+     5. Write the lead of any fire story in as many different ways as
+        possible, striving in each one to play up the same feature.
+
+     6. Study a simple fire story and try to imagine what unexpected
+        things might occur in connection with the fire which would be of
+        greater interest than the fire itself. Show that these would be
+        features and that they do not fall within the answers to the
+        reader's customary questions--i. e., they are unexpected.
+
+     7. Write fire stories with features in unexpected attendant
+        circumstances.
+
+     8. Make up lists of dead and injured; notice how the newspapers
+        arrange and punctuate these lists.
+
+     9. Study fire stories with more than one feature. Work out the
+        possibilities in any given fire along these lines.
+
+    10. Write fire stories in which there is more than one feature
+        worth a place in the lead. Try various combinations in the lead
+        to discover the happiest arrangement. Show how one of many
+        striking features may be of so much importance as to drive the
+        other features entirely out of the lead.
+
+
+EXERCISES FOR THE SEVENTH CHAPTER
+
+     1. Count the number of words in the sentences and paragraphs of
+        representative newspaper stories.
+
+     2. Practice writing fire leads that might be printed alone without
+        the rest of the story.
+
+     3. Take a fire lead and experiment with various beginnings to show
+        the possibilities:
+
+         a. Noun--experiment with and without articles.
+         b. Infinitive--Distinguish infinitives in "to" and
+              in "-ing."
+         c. _That_ clause.
+         d. Prepositional phrase.
+         e. Temporal clause.
+         f. Causal clause.
+         g. Others.
+
+         Show that any of these beginnings may be used in the
+         playing up of any one feature.
+
+     4. Study how a name may overshadow an interesting story; determine
+        when a name is worth first place in a lead. Study the practice
+        of representative papers in this--do not hesitate to show how a
+        paper has been illogical in beginning certain stories with an
+        unknown name, for everything one sees in a newspaper is not
+        ipso facto good usage in newspaper writing.
+
+     5. In students' stories, notice what the principal verb says and
+        point out any misplaced emphasis.
+
+     6. Wage war on "was the unusual experience of" and "was the fate
+        of" in leads.
+
+     7. Try to avoid "broke out" in fire leads. Devote the space to more
+        interesting action.
+
+     8. Cut out all useless words in students' exercises; strive for
+        brevity. Go through a student's story and weigh the value of
+        each word, phrase, and sentence; cut out the useless ones or try
+        to express them more briefly. Do the same to actual newspaper
+        stories.
+
+     9. Weigh the value of every detail introduced into a lead and cut
+        out the unnecessary ones; relegate them to the rest of the
+        story.
+
+    10. Wage war on all meaningless generalities; demand exactness.
+
+    11. Refer the class to the Style Book in this volume and require
+        them to follow a uniform style. Point out the differences in
+        style of various papers.
+
+    12. See if the bodies of students' stories mean anything without
+        the presence of the leads. Require the body of the story to be
+        separate and complete in itself. This need not, of course, be
+        carried to the point of repeating addresses given in the lead.
+
+    13. Try writing a story by simply elaborating and explaining the
+        details mentioned in the lead of the story. Determine what facts
+        must be added.
+
+    14. See if any story can stand the loss of its last paragraph.
+        Determine how many paragraphs it can lose without sacrificing
+        its interest.
+
+    15. In writing the body of a fire story, list the facts that are to
+        be told, in their logical order; thus: origin, discovery,
+        spread, death of firemen, escapes, injuries, rescues, explosion,
+        extinguishing of fire. Number them in the order of their
+        importance. Try to build a story out of these by following the
+        logical order and at the same time crowding the most interesting
+        facts to the beginning.
+
+    16. Practice getting the facts of a story by means of interviews.
+        The instructor may have the students determine what persons they
+        wish to interview for the facts and the instructor may
+        impersonate these persons in turn. The class may then write the
+        story from the facts gained in this way without reference to the
+        interviews. This is for selecting and arranging facts in their
+        logical order.
+
+    17. Practice the use of dialogue in stories. Judge its
+        effectiveness and show that in most cases it is well to avoid
+        dialogue.
+
+    18. Practice rewriting long stories into short press dispatches of
+        150 words or less, considering the different news value.
+
+
+EXERCISES FOR THE EIGHTH CHAPTER
+
+     1. Collect clippings of other kinds of news stories.
+
+     2. In writing these other stories use the fire story as a model;
+        the facts may be presented as they were in the fire story.
+
+     3. Study the possible features in accident stories; write accident
+        stories with various features; make lists of dead and injured.
+
+     4. Study and write robbery stories with various features;
+        distinguish between the various names applied to robbery and to
+        the people who rob.
+
+     5. Study and write murder and suicide stories with various
+        features, striving in each case to give the facts without
+        shocking the reader. Show how the featureless murder or suicide
+        story is very much like a featureless fire story.
+
+     6. Study and write riot, storm, flood, and other big stories.
+
+     7. In the study of police court news have the class go to the local
+        police courts and report actual cases.
+
+     8. Send the students to report meetings. Report conferences,
+        decisions, etc. Insist that the story begin with the gist of the
+        report in each case and never with explanations.
+
+     9. Write stories on bulletins, catalogues, city directories, etc.
+        Study them with reference to their timeliness and try to
+        discover what in them has the most news value. Require the
+        student to begin with this element of news value and to give the
+        source (the name and date of the bulletin, etc.) in the lead.
+
+    10. Look over the daily papers and pick out news stories which
+        bury the gist of their news and have the students rewrite the
+        leads to play up the real news or to give greater emphasis to
+        buried features.
+
+
+EXERCISES FOR THE NINTH CHAPTER
+
+     1. Collect good examples of the follow-up and the rewrite story;
+        follow one important story through several days' editions to
+        see how it is rewritten day by day. Examine an afternoon
+        paper's version of a story covered in a morning paper.
+
+     2. Take any news story and work out the follow-up possibilities;
+        imagine what the next step in the story will be.
+
+     3. On this basis, write follow-up stories and rewrite stories.
+
+     4. Write a follow-up story which, while beginning with a new
+        feature, retells the original story.
+
+     5. Study and write follow-up stories involving fires, accidents,
+        robberies, murders, suicides, storms (present condition), etc.
+
+
+EXERCISES FOR THE TENTH CHAPTER
+
+     1. Collect good examples of speech reports.
+
+     2. Take notes on oral speeches and write reports of varying
+        lengths. Practice taking notes in the proper way and write the
+        report at once--perhaps as an impromptu in class. The instructor
+        may send his students to public lectures or read representative
+        speeches to them in class.
+
+     3. Write reports of speeches from printed copies of the speech;
+        that is, edit them in condensed form.
+
+     4. Take one lead and experiment with different beginnings, playing
+        up the same idea in each case.
+
+     5. Discuss speeches to determine the newsiest and timeliest thing
+        in the speech--the statement to be played up in the lead.
+
+     6. In the body of the report try to use as much direct quotation as
+        possible, use complete sentence quotations, do not mix quotation
+        and summary in the same paragraph or sentence. Study the rules
+        regarding the use of quotation marks.
+
+     7. Have the students write running reports of speeches--that is,
+        have them write their report as they listen to the speech and
+        submit their report in this form. Naturally the lead must be
+        written later.
+
+
+EXERCISES FOR THE ELEVENTH CHAPTER
+
+     1. Collect representative interview stories.
+
+     2. Have students interview various people without the aid of a note
+        book; have them bring back quoted statements by the use of their
+        memory. Have them interview some one who will criticize their
+        manner and method.
+
+     3. Have a definite reason or timeliness for every interview--have
+        the student map out a definite campaign beforehand. Try writing
+        out the questions beforehand in shape to fill in the answers.
+
+     4. Write interview stories from the results of these attempts.
+
+     5. Begin the same interview story in various ways.
+
+     6. Write an interview story in which the feature is a denial or a
+        refusal to speak; tell what should have been said and what the
+        denial or refusal signifies.
+
+     7. Study the form of the body of the report (see Speech Reports).
+
+     8. Write stories which are the result of several interviews on the
+        same subject; arrange them informally and formally.
+
+
+EXERCISES FOR THE TWELFTH CHAPTER
+
+     1. Collect examples of good court reports.
+
+     2. Attend and report actual cases in the local courts (preferably
+        civil courts).
+
+     3. Determine what is the most interesting thing in each.
+
+     4. From this, write court reports--reports of the cases which the
+        students have heard.
+
+     5. Experiment with the various beginnings for the same report.
+
+     6. Try summarizing a case in one paragraph.
+
+     7. Practice getting down testimony verbatim.
+
+     8. Practice summarizing testimony in indirect form.
+
+     9. Practice writing out the testimony in full in the various ways.
+
+    10. Write testimony with action in it for the sake of human
+        interest.
+
+    11. Show how all of these may be combined into one good court
+        report.
+
+
+EXERCISES FOR THE THIRTEENTH CHAPTER
+
+     1. Notice how various newspapers treat social news; study the
+        reason in each case; collect examples.
+
+     2. List the facts of a wedding story; write short and long wedding
+        stories.
+
+     3. Write wedding announcements, beginning in various ways.
+
+     4. Write engagement announcements.
+
+     5. Write up receptions, banquets, dinners, etc.; report actual
+        functions.
+
+     6. Write announcements for the same functions.
+
+     7. Write up some unusual social story as a news story.
+
+     8. Practice writing obituaries and simple death stories with
+        accompanying obituary. Write sketches of the lives of prominent
+        people.
+
+     9. In these exercises use actual events as subjects.
+
+
+EXERCISES FOR THE FOURTEENTH CHAPTER
+
+     1. Study sporting stories for their material and method.
+
+     2. Report a football game or some other sporting event.
+
+     3. Make a running account of a football or baseball game.
+
+     4. Write a brief summary of the game to be sent out as a dispatch,
+        limiting it to 150 words.
+
+     5. Write up the same game in 200-300 words; attach a condensed
+        running account of the same length.
+
+     6. Write a long story of the same game, following the outline given
+        in the text; attach a detailed running account by periods or
+        innings; compile tables of players and results for the end.
+
+     7. The study of sporting news may be taken out of its logical place
+        and studied during the baseball or football season.
+
+
+EXERCISES FOR THE FIFTEENTH CHAPTER
+
+     1. Collect human interest and newspaper feature stories.
+
+     2. Watch for material for human interest stories; look at the facts
+        in your other news stories in a sympathetic way and see how they
+        could be made into human interest stories.
+
+     3. Write human interest stories on facts given by the instructor
+        and on facts discovered by the students.
+
+     4. Write animal stories, and witty comments on the weather.
+
+     5. Write up some timely local subject as a 1500-word feature story.
+
+
+EXERCISES FOR THE SIXTEENTH CHAPTER
+
+     1. Gather good theatrical reports and watch for those in which the
+        whole report is written around a single idea.
+
+     2. At the theater watch for things to comment on; try to bring away
+        one definite idea about the play--with illustrations.
+
+     3. Write dramatic criticisms that are the embodiment of a single
+        idea or criticism on the play.
+
+     4. Try to point out the bad things in a play without being bitter
+        or personal.
+
+     5. Write a half-column of copy on a vaudeville show, supposing that
+        the copy is paid for and must praise, not only the show as a
+        whole, but each individual act.
+
+
+EXERCISES FOR THE SEVENTEENTH CHAPTER
+
+     1. Notice the form and punctuation of the date line: MADISON,
+        Wis., Feb. 29.--
+
+     2. Notice the writing of street addresses: 234 Grand avenue, 4167
+        Twenty-sixth street; 3857 138th street; (without "at").
+
+     3. Notice in the use of figures--sums of money, hours of day, ages,
+        figures at the beginning of sentence.
+
+     4. Notice use of titles; use of Mr. before a man's name--always
+        give a man's initials or first name the first time you mention
+        it in any story.
+
+
+
+
+APPENDIX II
+
+
+NEWS STORIES TO BE CORRECTED
+
+(The following stories have been prepared to illustrate some of the most
+usual mistakes in newspaper writing. They may be rewritten or used as
+exercises in copy-reading. As a class exercise, the student may revise
+and correct these stories _without recopying_, just as a copy-reader
+revises poorly written copy.)
+
+
+                                  I
+
+              Shortly after 2:30 this morning fire
+
+            broke out in a pile of old papers in the
+
+            basement of the Harmony Flat building,
+
+            at 1356 Congress avenue, a four-story
+
+            eight-apartment structure. Two firemen
+
+            were killed by a falling wall.
+
+              The fire had a good start before the
+
+            janitor, Michael Jones, who sleeps in the
+
+            basement, awoke. He turned in an alarm
+
+            and ran through the halls awakening the
+
+            occupants. The people on the two lower
+
+            floors escaped in their night clothing by
+
+            the stairways, but the fire spread very rap-
+
+            idly, the occupants of the upper floors be-
+
+            ing forced to flee down the fire escapes in
+
+            the rear.
+
+              When the firemen put in an appearance,
+
+            Mrs. Jeanette Huyler appeared at a third
+
+            story window and called for help. An ex-
+
+            tension ladder being hoisted, she was res-
+
+            cued without difficulty. During the fire
+
+            the wall on the east side fell and killed
+
+            Fireman John Casey and Jacob Hughes;
+
+            Fireman Williams Jacobs was hit on the
+
+            head by a brick and seriously injured.
+
+              The fire was extinguished before it
+
+            spread to an adjoining three-story flat
+
+            building on the west.
+
+              The firemen in searching the ruins
+
+            found the body of a man who was later
+
+            identified as Rupert Smithers; he was 70
+
+            and occupied a lower flat by himself. The
+
+            janitor said that he was deaf and prob-
+
+            ably did not hear the warning. The three
+
+            dead and injured firemen belong to Hose
+
+            Co. No. 24.
+
+              Loss $50,000, fully insured.
+
+
+                              ----------
+
+
+
+                                  II
+
+              The police have arrested John Johnson,
+
+            23 years old, 2367 Sixth Street, charged
+
+            with murdering Mrs. Laura Buckthorn,
+
+            the well-known proprietor of the Duchess
+
+            Restaurant, 438 High street. He is now
+
+            in the county jail.
+
+              Mrs. Buckthorn was sixty years old and
+
+            the widow of one of the oldest settlers in
+
+            the city.
+
+              She lived in her small cottage at 2367
+
+            Sixth Street and supported herself by
+
+            means of the restaurant. John Johnson, a
+
+            street car motorman occupied a room in
+
+            her cottage. Mrs. Buckthorn was found
+
+            dead in her bed, in a pool of blood, with
+
+            two bullet holes in her head this morning.
+
+            Mrs. Grady, the restaurant cook said, "I
+
+            became alarmed when Mrs. Buckthorn did
+
+            not appear as usual at the restaurant this
+
+            morning and went to her home to find
+
+            her."
+
+              Inquiry showed that Mrs. Buckthorn
+
+            had drawn $250 from the First National
+
+            Bank yesterday and her daughter, Mrs.
+
+            J. D. Jackson, 1548 Sixth Street, says that
+
+            her mother often kept such sums of money
+
+            at home under the mattress of her bed.
+
+            Mrs. Jackson also says that she often
+
+            warned her mother against such habits.
+
+            The money was not under the mattress
+
+            this morning.
+
+              Further inquiry showed that John Johnson
+
+            did not appear for work as usual this
+
+            morning and was later found by Police-
+
+            man Patrick O'Hara in the railroad yards.
+
+            He had with him $223.67 and a ticket to
+
+            New York. He was known to be hard up
+
+            but refused to account for the money and
+
+            was given a berth in the county jail.
+
+              Samuel Benson, cashier of the First Na-
+
+            tional, is sure that the two 100-dollar
+
+            bills which were found on Johnson are the
+
+            same bills that he gave to Mrs. Buckthorn
+
+            yesterday afternoon. Johnson will be
+
+            given a hearing to-morrow but it is al-
+
+            ready considered certain that he is the
+
+            guilty party, the evidence being so strong.
+
+              (This story may be rewritten for local
+            use and for a dispatch.)
+
+
+                              ----------
+
+
+
+                                 III
+
+              Sparks, resulting from the grounding
+
+            of an electric wire, ignited a bucket of gas-
+
+            olene and fired the shop of the G. W.
+
+            Smith Motor Co., at 228, 232 West street
+
+            last night, five automobiles valued at
+
+            $5,800 being destroyed and the building
+
+            being damaged to the extent of 6,200 dol-
+
+            lars by fire.
+
+              The insulation on the wires of an exten-
+
+            sion light that Edward Flasch, one of the
+
+            repair men was using became cracked, the
+
+            wire grounding as a result. The sparks
+
+            fell into a bucket of gasolene standing
+
+            nearby and in a few minutes the entire
+
+            building was ablaze. G. W. Smith, pro-
+
+            prietor of the garage, said that he was sit-
+
+            ting in his office at the time of the explo-
+
+            sion and tried to put the fire out with sand
+
+            but could not get the blaze under any con-
+
+            trol. He then started to run out as many
+
+            machines as possible.
+
+              Six cars, valued at $9,000 were saved.
+
+
+                              ----------
+
+
+
+                                  IV
+
+              Madison, September 25th, 1912; With
+
+            a loud deafening roar that violently
+
+            aroused hundreds from their beds of slum-
+
+            ber the monster gas holder occuppying
+
+            the southwest corner of South Blount and
+
+            Main Streets at the gasplant of the Madi-
+
+            son Gas and Electric Company collapsed
+
+            very suddenly at 6:sO a. m. this morning,
+
+            and now lies partly submerged in water,
+
+            a total wreck. The damage will be fully
+
+            25,000 dollars, but there will be no inter-
+
+            ruption to the service the company's excel-
+
+            lent reserve equippment being immediately
+
+            brought into action for the emergency.
+
+            The cause of the explosion was at first
+
+            clothed in deep mystery before the officials
+
+            of the company had time to make any in-
+
+            vestigation.
+
+              However it was definitely ascertained
+
+            during the morning when Mr. John W.
+
+            Jackson, the secretary and treasurer of the
+
+            company, being interviewed by a Daily
+
+            News correspondent this morning, stated
+
+            that the immense quantities of snow on
+
+            the roof of the holder was primarily re-
+
+            sponsible. The weight of the snow on
+
+            one side of the holder causing it to drop
+
+            down broke the wheel and pushed the
+
+            holder off the foundation on which it was
+
+            standing. There was a momentary blaze
+
+            but when the tank settled down into the
+
+            reservoir below the fire went out and the
+
+            awful peril from this highly dangerous
+
+            source was fortunately averted.
+
+              As it was dozens of windows at the
+
+            planing mill on the opposite side of the
+
+            street were all left intact. In fact no dam-
+
+            age whatsoever outside of the holder re-
+
+            sulted from the unfortunate accident.
+
+            Two workmen, Jacob Casey and Nelson
+
+            Jones, were unfortunately caught beneath
+
+            the wreckage and their bodies were
+
+            removed later in the morning by the fire
+
+            department. The tank was full when it
+
+            collapsed and that it did not scatter de-
+
+            struction and take more innocent lives
+
+            was one of the fortunate features of the
+
+            accident and a great cause for congratula-
+
+            tion among the officials of the company
+
+            today.
+
+              (This story illustrates, among other
+            things, excessive wordiness.)
+
+
+                              ----------
+
+
+
+                                  V
+
+              After being chased by a young woman
+
+            for several blocks, a man who gave his
+
+            name as John Weber, was pursued through
+
+            a saloon at 11-97th street by Policeman
+
+            Arthur Brown and captured on the roof of
+
+            a building adjoining the saloon, where the
+
+            man had hidden behind a chimney. Weber
+
+            was arrested by the policeman and is held
+
+            on a charge preferred by Charles Young, a
+
+            grocer at 2145 Sixth avenue, of attempt-
+
+            ing to rob Young's grocery store.
+
+
+              According to Young, just before he
+
+            closed his store for the night last evening,
+
+            a young man entered the store and asked
+
+            for a pound of butter. "I thought," said
+
+            Young, "that the man was just married
+
+            and might be a possible new customer. I
+
+            started for the back of the store to open a
+
+            new tub but just as I turned to go, he hit
+
+            me over the head with his cane. The
+
+            blow dazed me but I still had sense enough
+
+            to grab him by the collar. In the fight we
+
+            both fell through the glass door at the
+
+            front of the store and the d--n rascal got
+
+            away." A young woman, who was pass-
+
+            ing the store, seeing the fracas, screamed
+
+            and started to run after the young man.
+
+            She followed him until he ran into a sa-
+
+            loon. Then she ran up to Policeman
+
+            Brown, who was standing at the corner of
+
+            97th st. and Sixth-av and told him that a
+
+            robber had gone into the saloon. The po-
+
+            liceman ran into the saloon, but found the
+
+            man had left by the back stairs. The po-
+
+            liceman followed up two flights of stairs
+
+            leading to the roof, on the run, where he
+
+            found Weber hiding behind a chimney.
+
+            Weber refused to give his address.
+
+
+              After watching until she saw the robber
+
+            taken away in the paddy-wagon, the
+
+            doughty young woman disappeared. Her
+
+            name is unknown.
+
+
+                              ----------
+
+
+
+                                 VI
+
+              A burglar dressed in a Salvation Army
+
+            uniform was arrested for attempting to
+
+            burglarize Walter White's home, 16 West
+
+            62nd st. at about two o'clock last night.
+
+            He gave his name as Julius Woll and his
+
+            address as 129 23rd ave.
+
+
+              The caretaker at Walter White's said
+
+            he was awakened at 1 o'clock by the noise
+
+            of bureau drawers opening and he at once
+
+            phoned to the station. An officer came
+
+            and found the would-be burglar under the
+
+            bed. After considerable scuffling the man
+
+            was arrested and taken to the station.
+
+              The Salvation Army denied any connec-
+
+            tion with the prisoner but the landlady at
+
+            his address said he had two uniforms and
+
+            always wore one. He also carried a
+
+            prayer book under his arm whenever he
+
+            left his room. She also said that he had
+
+            resided in her house for six weeks and
+
+            owed four weeks board; also that he had
+
+            not been there for two weeks. Inquiry
+
+            proved that he was out regularly until
+
+            three or four in the morning.
+
+
+                              ----------
+
+
+
+                                 VII
+
+              The wedding of Mr. James Henry,
+
+            1463 Seventh Street, and Miss Sarah
+
+            Jones, last night at the home of the bride's
+
+            parents, at 316 North Johnson Street, was
+
+            a brilliant success.
+
+              Fifty guests were present and the pres-
+
+            ents which they brought all but filled the
+
+            parlor. After the ceremony a seven-
+
+            course banquet was served until 11:30
+
+            o'clock. Miss Sadie Jones rendered "The
+
+            Rosary" to the accompaniment of Mr.
+
+            John Field.
+
+              The bride wore a gown of pink taffeta
+
+            and carried sweet peas. The bridesmaid,
+
+            Lily Swenk, was dressed in white muslin.
+
+            The groom and best man, Mr. Arthur
+
+            Howles, wore conventional black. Rev.
+
+            Stone of the First M. E. church officiated.
+
+              The groom is a promising young law-
+
+            yer of this city. His bride is one of the
+
+            city's leading young society woman, being
+
+            deeply interested in the Womans' Suf-
+
+            frage League. There marriage is the re-
+
+            sult of a love affair begun at the univer-
+
+            sity and is the cause of heart-felt congrat-
+
+            ulations from their friends. After a trip
+
+            to the Coast, the happy couple will reside
+
+            in this city.
+
+
+                              ----------
+
+
+
+                                 VIII
+
+              "What we need in our universities are
+
+            sportsmen and not sports," said President
+
+            G. E. Gilbert of the Western University,
+
+            in the convocation address yesterday aft-
+
+            ernoon at four o'clock. "The sportsman
+
+            plays for the game, but the sport plays for
+
+            the victory."
+
+              The President continued, "Before the
+
+            battle, and during the battle, the
+
+            sportsman can be told from the sport."
+
+            It is the actions of the man, he
+
+            said, when he is in the test that determine
+
+            to which class he belongs. The President
+
+            summarized the various college
+
+            activities and showed how the two
+
+            classes of men appear in each different
+
+            activity. And in each, as the President
+
+            said, "you can tell the sportsman from the
+
+            sport."
+
+              "I think that this, the relation between
+
+            the sportsman and the sport, is the truest
+
+            analogy that can be applied to human life.
+
+            Life as a sea, life as a battle, life as a river
+
+            in which you must always paddle your
+
+            own canoe upstream, life as a hill-climbing
+
+            contest--all these analogies have their
+
+            weaknesses. But life as a game is a true
+
+            analogy."
+
+              The President concluded with a glowing
+
+            tribute to our university.
+
+
+                              ----------
+
+
+
+                                  IX
+
+                             FAULTY LEADS
+
+              Evading the police by sliding down a
+
+            rope fire escape from a hotel window, Jo-
+
+            seph Matus, charged with robbing a lum-
+
+            ber jack of $125, escaped the police
+
+            temporily only to be arrested an hour
+
+            later at the Chicago, Milwaukee and St.
+
+            Paul depot.
+
+                              ----------
+
+              Ignited by the breaking of an electric
+
+            lamp, a tank of whiskey containing 7,705
+
+            gallons exploded and threw Francis Tab,
+
+            120 W. 139th St., thirty feet against the
+
+            opposite wall at the E. J. Jimkons Com-
+
+            pany, 40th street this morning.
+
+                              ----------
+
+              Fire of unknown origin started in the
+
+            big lumber yards owned by Charles John-
+
+            son at 763 Clinton Avenue, yesterday aft-
+
+            ernoon. The yards and one million feet
+
+            of lumber were totally destroyed. The
+
+            entire district between Mitchell street and
+
+            the South River was in danger of total
+
+            destruction, according to fire Chief Casey.
+
+                              ----------
+
+              Fire starting in a shed on West street
+
+            caused the total destruction of the First
+
+            Baptist church and the death of two fire-
+
+            men killed by falling walls. Loss $120,-
+
+            000.
+
+                              ----------
+
+              Trade war is the only probable result
+
+            of the abrogation of the Russian treaty,
+
+            was the statement of the Hon. Frank J.
+
+            Blank, secretary of State, before a large
+
+            and enthusiastic audience at the opera
+
+            house last evening. 1800 people packed
+
+            the building to overflowing.
+
+                              ----------
+
+              John Jones, a workman, who was
+
+            slightly injured when a thousand pounds
+
+            of powder exploded and wrecked the
+
+            Three-Ex Powder mill last night, was
+
+            taken to the St. James hospital.
+
+                              ----------
+
+              The presence of mind and coolness of
+
+            Mrs. J. B. Sweeny, 758 North Street,
+
+            saved little Johnny Sweeny from death
+
+            last night when she caught him by the
+
+            coattail and dragged him from beneath
+
+            the fender of a street car. Mrs. Sweeny
+
+            was dragged 50 feet by the car and taken
+
+            to the St. Luke's hospital in an ambulance
+
+            that was hastily summoned.
+
+                              ----------
+
+              Falling through a street car window
+
+            without receiving so much as a bruise was
+
+            the unusual experience of Michael Casey
+
+            last night on Main Street. Michael was
+
+            not intoxicated--so he says.
+
+                              ----------
+
+              Recklessly driving his automobile over
+
+            the curb on Smith street, Mr. James
+
+            White, who resides at 764 Smith street,
+
+            was fatally hurt by a careless chauffeur,
+
+            who was unable to handle his machine
+
+            and skidded at the corner near Mr.
+
+            White's home.
+
+                              ----------
+
+              At a meeting of the Sane Fourth com-
+
+            mittee in the city library last evening
+
+            at seven thirty, it was decided that Smith-
+
+            town must pass a law forbidding the sale
+
+            and use of cannon crackers.
+
+
+
+
+INDEX
+
+
+    A
+
+    Abbreviations, 287.
+    Accidents, 3, 107-109, 291.
+    Accuracy, 145, 168, 209, 212, 290.
+    Addresses, style of, 278, 279, 286, 288, 290, 310.
+    Advertising, 28.
+    Ages, how written, 286.
+    Animal story, 253.
+    Announcements, of engagements, 210;
+      social, 212;
+      stories on, 121;
+      wedding, 209.
+    Article beginning, 43, 80.
+    Assignments, 5, 29.
+    Associated Press, 10.
+    Association, City Press, 10, 193.
+    Athletic news, 219-232, 278, 283.
+
+
+    B
+
+    Baseball stories, 219.
+    Beat, or run, 5, 29.
+    Beat, or scoop, 6, 30.
+    Beginning of lead, 80, 89;
+      with article, 43, 80;
+      with name, 57, 85, 161, 175, 180, 195, 249;
+      with time, 47.
+    Beginnings of court reports, 195-200;
+      of human interest stories, 244-250;
+      of interview stories, 179-187;
+      of speech reports, 151-164.
+    Big story, 5, 31;
+      following-up of, 140;
+      handling of, 116;
+      resulting interviews from, 176, 187.
+    Bills, stories on legislative, 121.
+    Body of the story, 45, 76;
+      discussion of, 91;
+      of court reports, 200;
+      of follow stories, 129;
+      of human interest stories, 250;
+      of interview stories, 185;
+      of news stories, 122;
+      of obituaries, 216;
+      of speech reports, 164.
+    Book, of tips, 3, 295;
+      style, 33, 276-293.
+    Box, 32, 188.
+    Break, to, 31.
+    Brevity, 13, 206, 217, 231.
+    Brief summary athletic story, 222.
+    Bulletins, stories on, 121.
+    Business office, 28.
+
+
+    C
+
+    Capitalization, 276-281.
+    Circulation, 15, 28.
+    City editor, 2, 29.
+    City Press Association, 10, 193.
+    Classes of readers, 16.
+    Clause beginning of lead, 82.
+    Clean copy, 30.
+    Clearness, 91, 104, 123.
+    Clippings, 295.
+    Coherence, 166, 266.
+    Column, 32.
+    Compositor, 30.
+    Compounds and divisions of words, 285.
+    Concreteness, 104, 293.
+    Conferences, reports of, 119.
+    Continued case beginning, 196.
+    Cooperation in newsgathering, 10, 193.
+    Copy, 30;
+      preparation of, 289.
+    Copyreader, 29.
+    Copyreading, 311.
+    Corrected, stories to be, 311.
+    Correspondent, work of, 2;
+      instructions to, 11, 223.
+    Court reporting, 4;
+      discussion of, 192-203, 281.
+    Cover, to, 29.
+    Crime, stories on, 110-116.
+    Criticism, dramatic, 259-275.
+    Crowd, used as feature, 68.
+    Cub reporter, 28.
+    Cynicism, 235, 252.
+
+
+    D
+
+    Datelines, 283, 310.
+    Dates, how written, 278, 286, 290.
+    Day city editor, 29.
+    Dead, lists of, 63.
+    Death element, 3, 22, 61, 73, 107.
+    Decisions, reports of, 119.
+    Definiteness, 104.
+    Desk man, 29.
+    Despatch, 12, 222.
+    Dialogue, use of, 103;
+      in court reports, 200;
+      in human interest stories, 245, 251;
+      rules for, 283.
+    Dictation of stories, 298.
+    Diction, 290-293.
+    Directories, stories on, 121.
+    Distance, effect of, 11, 20.
+    Division of words, 285.
+    _Don'ts_, in dramatic reporting, 265;
+      in general, 290;
+      in leads, 85-90.
+    _Down_ style, 33.
+    Dramatic reporting, 259-275.
+
+
+    E
+
+    Editing, 30, 144.
+    Editor, 29;
+      day or night city, 2, 29;
+      sporting, 29, 219;
+      state, 2;
+      Sunday, 29;
+      telegraph, 2, 29.
+    Editorial room, 28.
+    Editorial writers, 29.
+    Elections, 3, 277, 281, 288.
+    Emphasis, 102.
+    Engagement announcements, 210.
+    Entertainments, reports of, 210.
+    Exaggeration, 22, 89.
+    Expected news, 3.
+
+
+    F
+
+    Faults in news stories, 75-104.
+    Faulty stories to be corrected, 311.
+    Feature, the, 27, 31, 37, 41, 50, 106-122, 125, 150, 175, 195,
+    228, 244, 266;
+      crowd as, 68;
+      death as, 61, 73;
+      exaggeration for, 89;
+      fire fighting as, 67;
+      _how_, 57;
+      in accident stories, 107;
+      in football stories, 219-232;
+      in human interest stories, 233-255;
+      in murder stories, 114;
+      in police stories, 118;
+      in robbery stories, 110;
+      in speech reports, 150;
+      in suicide stories, 115;
+      injuries as, 65;
+      more than one, 70;
+      playing up of, 27, 31;
+      property threatened as, 66;
+      rescues as, 65;
+      unexpected attendant circumstances as, 60;
+      _what_, 55;
+      _when_, 54;
+      _where_, 52;
+      _who_, 57;
+      _why_, 51.
+    Feature fire story, 50-74.
+    Feature social story, 213.
+    Feature story, the special, 31, 255.
+    Featureless fire story, 41-49.
+    Figures, news value of, 24;
+      use of, 283, 286, 290.
+    Fine writing, 124, 213, 218, 251.
+    Fire story, 39, 41, 50, 75, 105, 122.
+    Fires, 3, 4, 7, 39, 41, 50, 75, 105, 122.
+    Follow, or follow-up, story, 32;
+      relation of, to court reports, 197;
+      relation of, to interviews, 187;
+      writing of, 125, 130-140.
+    Following up related subjects, 140.
+    Football stories, 219-232.
+    Form of the news story, 34-40.
+    Freak leads in speech reports, 163.
+
+
+    G
+
+    Gathering the news, 1-13;
+      in athletic reporting, 230;
+      in court reporting, 193;
+      in human interest stories, 234;
+      in interviewing, 169;
+      in reporting speeches, 144.
+    Generalities, meaningless, 89.
+    Gist, 31, 36, 233, 243, 266.
+    Grammar, 78, 84, 123.
+    Group interviews, 187.
+
+
+    H
+
+    Heads, headlines, 27, 30, 78, 188.
+    Hospitals, as news sources, 4.
+    _How_, feature in, 57.
+    Human interest stories, 17, 24, 32, 178, 185, 191, 198;
+      discussion of, 233-255.
+    Humor, 24, 198, 214, 241.
+    Humorous story, 241.
+
+
+    I
+
+    Infinitive beginning of lead, 81.
+    Injuries, feature in, 65;
+      list of, 64.
+    Instructions to correspondents, 12.
+    Interest, 14, 35, 92, 102, 104, 141, 179, 192;
+      human, 17, 24, 32, 178, 185, 191, 198, 233-255.
+    Interview stories, 175-191.
+    Interviews, for facts, 6, 103;
+      for opinions, 6, 141, 169-191;
+      group, 187.
+
+
+    K
+
+    Keynote beginning of speech report, 158.
+    Killing a story, 30.
+
+
+    L
+
+    Lead, 31;
+      beginning of, 80, 89;
+      _don'ts_ in, 85-90;
+      in athletic stories, 223, 227;
+      in court reports, 195-200;
+      in fire stories, 39, 42, 50, 77-90;
+      in follow stories, 127-140;
+      in human interest stories, 233;
+      in interview stories, 179-185, 188;
+      in obituary stories, 214;
+      in other news stories, 106;
+      in speech reports, 147-164;
+      length of, 75;
+      main verb of, 86.
+    Leaded, 32.
+    Length, of lead, 75;
+      of paragraphs, 75;
+      of sentences, 76.
+    Line-up of teams, 232.
+    Linotype, 30.
+    Lists of dead and injured, 63;
+      of guests, patronesses, etc., 211, 282;
+      of names, 282.
+    Local interest, 21, 26.
+    Long football story, 226.
+    Loss of life, 22, 61, 73;
+      of property, 23, 55.
+
+
+    M
+
+    Mailing stories, 13.
+    Main verb of lead, 86.
+    Make-up, making up, 31, 37.
+    Manner, reporter's, 172.
+    Marriages, 206.
+    Meaningless generalities, 89.
+    Meetings, reports of, 3, 119, 291.
+    Money, sums of, 281, 286, 290.
+    Morgue, 4, 216.
+    "Mr.", use of, 287, 292, 310.
+    Murders, 113.
+
+
+    N
+
+    Name beginning, in court reports, 195;
+      in human interest stories, 249;
+      in interview stories, 175, 180;
+      in news stories, 57, 85, 108-116;
+      in speech reports, 161.
+    Names, prominent, 23, 57, 108-116, 150, 161, 178;
+      use of, 276, 277, 280-283.
+    Narrative order, in athletic stories, 227;
+      in court reports, 200;
+      in human interest stories, 250;
+      in interview stories, 185;
+      in news stories, 34-40, 92-102;
+      in obituaries, 215;
+      in speech reports 166;
+      in wedding stories, 207.
+    News, 14-27, 125;
+      agencies for gathering, 10, 193;
+      cooperation in gathering, 10, 193;
+      expected and unexpected, 3;
+      gathering of, 1-13, 144, 169, 193, 230, 234;
+      sources of, 4, 29;
+      sporting, 219-232, 278, 283.
+    New story, 34-124.
+    News story form, 34-40.
+    News tips, 3, 30, 295.
+    News values, 11, 14-27, 38, 41, 204, 233.
+    Newspaper terms, 28-33.
+    Night city editor, 29.
+    Nose for news, viii.
+    Notebook, 170.
+    Note taking, in athletic reporting, 230;
+      in court reporting, 194;
+      in dramatic reporting, 267;
+      in interviewing, 170;
+      in speech reporting, 144.
+    Noun beginning of lead, 80.
+
+
+    O
+
+    Obituaries, 214.
+    Order of narrative (see Narrative order).
+    Outlining of a story, 99.
+
+
+    P
+
+    Paragraph length, 75, 290.
+    Paragraphing, 48, 75, 166, 186, 290.
+    Participial phrase beginning for lead, 83, 158.
+    Parts of a news story, 46, 76, 91.
+    Pathetic story, 238.
+    Pathos, 24, 198, 238.
+    Personal appeal, 25, 249.
+    Personal news, 20, 204.
+    Photographs, 13.
+    Playing up, 31;
+      of the feature, 27, 31.
+    Point of view of newspaper, 8.
+    Police court news, 4, 118.
+    Policy, 26.
+    Political news, 25.
+    Practice, 294.
+    Preparation of copy, 289.
+    Prepositional phrase beginning, 82.
+    Press Associations, 10, 193.
+    Printed matter, stories on, 121.
+    Prominent names, 23, 57, 108-116, 150, 161, 178.
+    Proof, 30.
+    Proofreader's signs, 32, 290.
+    Property losses as features, 23, 55.
+    Property threatened as feature, 66.
+    Public records, 4.
+    "Punch," 13.
+    Punctuation, 281.
+    Purpose of newspapers, 14.
+
+
+    Q
+
+    Q. & A. testimony, 201, 283, 288.
+    Queries, 12.
+    Questions, reader's customary, as features, 51;
+      in fire stories, 38, 42, 50, 77;
+      in follow stories, 132;
+      in human interest stories, 233;
+      in interview stories, 179;
+      in obituaries, 215;
+      in other news stories, 106;
+      in speech reports, 150.
+    Quotation beginnings, direct, 151, 153, 183, 198, 245;
+      indirect, 154.
+    Quotations, 103, 146, 164, 186, 189, 200, 284.
+    Quoting, rules for, 284.
+
+
+    R
+
+    Range of news sources, 20.
+    Readers, classes of, 16.
+    Reader's customary questions. _See_ Questions.
+    Receptions, 210, 291.
+    Rehashing, 125-130.
+    Related stories, 140, 176, 187.
+    Releasing a story, 31, 144.
+    Reporter, 2, 28, 170, 186, 219, 235, 258, 259, 292.
+    Reporting court news, 192-202, 281.
+    Reports, dramatic, 259-275;
+      of meetings, conferences, decisions, etc., 119;
+      of speeches, sermons, lectures, etc., 143-168.
+    Rescues as features, 65.
+    Rewrite man, 125.
+    Rewrite story, 32, 125-130.
+    Robberies, 110, 291.
+    Runs, or beats, 5, 29.
+    Running a story, 30.
+    Running story, 31, 189, 200, 223, 227.
+
+
+    S
+
+    Sarcasm, 274.
+    Scoop, or beat, 6, 30.
+    Season story, 257.
+    Second day story, 32, 125, 130-140.
+    Sensationalism, 18, 90, 234.
+    Sentence length, 76.
+    Sermons, reports of, 3, 143-168.
+    Set up, to, 30.
+    Simple fire story, 40-49.
+    Slang, 28, 292.
+    Slash, to, 37, 92.
+    Slug, 30.
+    Sob squad, 236.
+    Social announcements, 212.
+    Social news, 204-214.
+    Sources of news, 4, 29.
+    Speaker beginning, 161, 180.
+    Special feature story, 255.
+    Speech reports, 3, 143-168, 284, 291.
+    Sporting editor, 29, 219.
+    Sporting news, 219-232.
+    Staff, 28.
+    State editor, 2.
+    Stenographic reports, 144, 194.
+    Stickful, 32.
+    Stories to be corrected, 311.
+    Storms, 3, 116.
+    Story, 30;
+      baseball, 219-232;
+      big, _see_ Big story;
+      body of, _see_ Body of the story;
+      faults in news, 75-104;
+      feature fire, 50-74;
+      fire, 38, 40, 105, 122;
+      follow, follow-up, or second day, 32, 125, 130-140;
+      form of news, 34-40;
+      news, 34-40, 50, 75, 105-124;
+      on announcements, bulletins, and other printed matter, 121;
+      on legislative bills, 121;
+      parts of news, 45, 76, 91;
+      police court, 118;
+      related, 140;
+      rewrite, 32, 125-130;
+      running, 31, 189, 200, 223, 227;
+      simple fire, 41-49;
+      special feature, 255;
+      summary athletic, 222;
+      unusual social, 213.
+    Street numbers, 278, 279, 286, 288, 290, 292, 310.
+    Style, 13, 33, 103, 233, 251.
+    Style Book, 33, 276-293.
+    Suggestions for study, 4, 294.
+    Suicide stories, 115, 291.
+    Summary beginning, for court reports, 197;
+      for interview stories, 182, 188;
+      for speech reports, 157.
+    Sums of money, 281, 286, 290.
+    Sunday editor, 29.
+    Superlatives, 222, 292.
+
+
+    T
+
+    Tables of athletic results, 232, 283.
+    Taking notes. _See_ Note taking.
+    Telegraph editor, 2, 29.
+    Telegraph queries, 12.
+    Telephone, use of, 13.
+    Terms, newspaper, 28-33.
+    Testimony, 200.
+    _That_-clause beginning, in interview stories, 182;
+      in speech reports, 154.
+    Theatrical news, 259-275, 284.
+    Time, indication of, 281, 286.
+    Time beginning, 47.
+    Timeliness, in general, 19;
+      in human interest stories, 238, 256, 286;
+      in interviews, 176, 187.
+    Tips, 3, 30, 295.
+    Title beginning of speech report, 160.
+    Titles, use of, 276, 277, 279, 282, 284, 287, 290, 292.
+    Track news, 219, 223.
+    Truthfulness, 8;
+      in general, 290;
+      in human interest stories, 239;
+      in interviewing, 179;
+      in speech reporting, 145, 168.
+    Typewriter, use of, 289.
+
+
+    U
+
+    Unexpected attendant circumstances, 60.
+    Unexpected news, 2.
+    Uniformity, 33, 34, 289.
+    United Press, 10.
+    Unusual social stories, 213.
+    Unusualness, 24, 213.
+    _Up_ style, 33.
+    Uplift run, 236, 254.
+    Usual football story, 223.
+
+
+    V
+
+    Values, news, 11, 14, 27, 38, 41, 204, 233.
+    Vaudeville reports, 264.
+    Vernacular, newspaper, 28.
+    Vividness, 104, 114, 116.
+
+
+    W
+
+    Weather story, 256.
+    Wedding announcements, 209.
+    Wedding story, 206.
+    _What_, as feature, 55.
+    _When_, as feature, 54.
+    _Where_, as feature, 52.
+    _Who_, as feature, 57.
+    _Why_, as feature, 51.
+    Wordiness, 87.
+
+
+    Y
+
+    Yarn, 30.
+
+
+    +---------------------------------------------------------------+
+    |Transcriber's Note:                                            |
+    |                                                               |
+    |Inconsistencies in spelling, hyphenation, punctuation and in   |
+    |spacing in abbreviations have been retained as in the original,|
+    |along with deliberate misspellings and errors in "News Stories |
+    |to be Corrected" in Appendix II.                               |
+    +---------------------------------------------------------------+
+
+
+
+
+
+
+End of the Project Gutenberg EBook of Newspaper Reporting and Correspondence, by
+Grant Milnor Hyde
+
+*** END OF THIS PROJECT GUTENBERG EBOOK NEWSPAPER REPORTING ***
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