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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—the +editor may attend to that—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—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.</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—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—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—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 I—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—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—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—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>—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>—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—the gathering +and sorting of the facts that can be obtained +only from chance witnesses.</p> + +<p><b>3. News Sources.</b>—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>—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>—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<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 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<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>—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<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—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—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>—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<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>—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>—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—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—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.</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—it might as well have been Mary +Jones—but that is because Susie has no news value +in herself. That is another matter.</p> + +<p><b>1. Classes of Readers.</b>—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—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.</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>—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,"<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—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>—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—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<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>—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>—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>—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>—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>—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>—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<span class="pagenum"><a name="Page_26" id="Page_26">[26]</a></span> +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.</p> + +<p><b>10. Local Reasons.</b>—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>—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.</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—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")—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—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—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.</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—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—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—the thing that gives the accident +news value—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.—<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—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." <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—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—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<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.—<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—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 <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?—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 "<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—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—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—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.</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—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.</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—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.</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—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—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—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.</p> + +<p><b>1. Why.</b>—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.—<em>Indianapolis News.</em></p> +</div> + +<p><b>2. Where.</b>—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.—<em>New York +Sun.</em></p> +</div> + +<p><b>3. When.</b>—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—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.—<em>New York +Post.</em></p> +</div> + +<p><b>4. What.</b>—(<em>a</em>) <em>The Burned Building.</em>—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—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 <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.—The +Kaatskill House, for many years a +popular Lake George resort, was completely +destroyed by fire this forenoon.—<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.—<em>Boston Herald.</em></p> +</div> + +<p>(<em>b</em>) <em>The Amount of Property Destroyed.</em>—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.—<em>Milwaukee +Sentinel.</em></p> +</div> + +<p><b>5. How.</b>—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 <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 & Co., manufacturers of trunks +and valises, at the northwest corner of +Ninth and Broadway, last night.—<em>Cincinnati +Commercial Tribune.</em></p> +</div> + +<p><b>6. Who.</b>—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—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.—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.—<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—<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—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.—<em>New +York Mail.</em></p> +</div> + +<p><b>1. Death.</b>—(a) <em>Number of Dead.</em>—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—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——" 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:</p> + +<div class="block"> +<p class="nt nb">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.—<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.—<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.—<em>Milwaukee +Sentinel.</em></p> +</div> + +<div class="block"> +<p class="nt nb">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.—<em>Boston +Transcript.</em></p> +</div> + +<p>(b) <em>List of Dead.</em>—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:</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.—<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>—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:</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.—<em>Minneapolis +Journal.</em></p> +</div> + +<p><b>2. Injuries.</b>—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.—<em>Milwaukee +Free Press.</em></p> +</div> + +<p><b>3. Rescues.</b>—(a) <em>Number of People Rescued.</em>—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.—<em>New York Mail.</em></p> +</div> + +<p>(b) <em>Manner of Rescue.</em>—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.—<em>New York Mail.</em></p> +</div> + +<p><b>4. Property Threatened.</b>—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.—<em>Milwaukee +News.</em></p> +</div> + +<p><b>5. Fire Fighting.</b>—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.—<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.—<em>New York Mail.</em></p> +</div> + +<p><b>6. Crowd.</b>—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<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.—<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.—<em>New York Sun.</em></p> +</div> + +<p><b>7. Miscellaneous.</b>—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.—<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.—<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.—<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"—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—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>—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>—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.</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>—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—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—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—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>—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<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——" +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, <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—simply +because English cannot bear this transposition +of subject and predicate.</p> + +<p>2. <em>Infinitive.</em>—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—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>—Another expression that may be used +as subject of the lead's principal verb is a clause—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>—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>—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<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>—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>—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—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——" "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.</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>——" 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>—"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.</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—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—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—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—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:</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—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.</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—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—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—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:</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—The lead.</p> + +<p>2d Paragraph—Death of MacBane and injury of +Bond.</p> + +<p>3d Paragraph—Mrs. Jones's injury and Hilda's +rescue.</p> + +<p>4th Paragraph—Buildings, occupants, brief course +of fire.</p> + +<p>5th Paragraph—Detailed account of origin of the +fire.</p> + +<p>6th Paragraph—How the fire was discovered.</p> + +<p>7th Paragraph—More about the spread and +course of the fire.</p> + +<p>8th Paragraph—How the fire was extinguished.<span class="pagenum"><a name="Page_102" id="Page_102">[102]</a></span></p> + +<p>9th Paragraph—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—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—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.</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—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<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>—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.</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.—<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.—<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.—<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.—<em>Milwaukee +Free Press.</em></p> +</div> + +<p><b>2. Robberies.</b>—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—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.</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.—<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.—<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.—<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.—<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.—<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.—<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.—<em>New +York World.</em></p> +</div> + +<p><b>3. Murder.</b>—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<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.—<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.—<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.—<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.—<em>New York +Mail.</em></p> +</div> + +<p><b>4. Suicide.</b>—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<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.—<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.—<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>—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<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.—<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.—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.—<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.—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>—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.—<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.—<em>Milwaukee +Free Press.</em></p> +</div> + +<p><b>7. Reports of Meetings, Conferences, Decisions, etc.</b>—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.—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.—<em>Wisconsin +State Journal.</em></p> +</div> + +<p>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<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——" +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>—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<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—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<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—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>—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—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—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>—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—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—has a new +feature—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>—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—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.—<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.—<em>Monday morning—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.—<em>Monday morning—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.—<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.—<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.—<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.—<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.—<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.—<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.—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>—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—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.</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—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.</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 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.</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—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—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—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<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—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—it must be a +fair resumé. 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 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.</p> + +<p>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<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.—Sentence.</b>—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:</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.—<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.—<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.—<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.—<em>New York World.</em></p> +</div> + +<p><b>2. Direct Quotation Beginning.—Paragraph.</b>—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:</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 aëronautics delivered before the +American Society of Mechanical Engineers +at 29 West Thirty-ninth street.—<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.—<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>—This method is +best adapted to the playing up of a brief resumé 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—"was the statement of," +"was the declaration of," etc. The <em>that</em>-clause may +contain a resumé 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.—<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.—<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.—<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.—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.—<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>—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.—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.—<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.—<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.—<em>New York +World.</em></p> +</div> + +<p><b>5. Keynote Beginning.</b>—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:</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>—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.—<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.—<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.—<em>New +York Tribune.</em></p> +</div> + +<p><b>7. Title Beginning.</b>—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.—"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.—<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.—<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.—<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.—<em>Milwaukee Sentinel.</em></p> +</div> + +<p><b>8. Speaker Beginning.</b>—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—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.—<em>Milwaukee +Sentinel.</em></p> +</div> + +<div class="block"> +<p class="nt nb">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.—<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—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.</p> + +<p>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<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—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.—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—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.</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—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.</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—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—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—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—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—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,—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—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>—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.</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.—<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.—<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.)—<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—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>—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.—<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.)—<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.)—<em>Milwaukee +Free Press.</em></p> +</div> + +<p><b>3. Quotation Beginning.</b>—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—beef and pork—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.—<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.—"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.—<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.—<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.—<em>Milwaukee Free Press.</em></p> +</div> + +<p><b>4. Human Interest Beginning.</b>—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.—<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.—<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—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.</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—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—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—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—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—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)—<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 & 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.)—<em>New York Sun.</em></p> +</div> + +<p class="noi">But this is very much like a human interest story—the +reporter takes part in it—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—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>—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:</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.—<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.—<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.—<em>New York +Evening Post.</em></p> +</div> + +<p><b>2. Continued Case Beginning.</b>—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.—<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.—<em>New York +Evening Post.</em></p> +</div> + +<p><b>3. Summary Beginning.</b>—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.—<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.—<em>New +York Evening Post.</em></p> +</div> + +<p><b>4. Direct Quotation Beginning.</b>—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.—<em>San Francisco Examiner.</em></p> +</div> + +<p><b>5. Human Interest Beginning.</b>—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.—<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.—<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.—<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.—How much money was +paid through your office in the course +of a year? Answer.—Four million dollars.<span class="pagenum"><a name="Page_202" id="Page_202">[202]</a></span></p> + +<p class="nt nb">Q.—So yours was a busy office? +A.—Exceedingly so.</p> + +<p class="nt nb">Q.—How long were the raw sugar +clerks in your office? A.—About twenty +years. Etc., etc.—<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.—Did you regulate their duties +in any way?</p> + +<p class="nt nb">Answer.—No.</p> + +<p class="nt nb">Q.—Were you connected with the +docks?</p> + +<p class="nt nb">A.—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.—<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—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.<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>—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—Feb. 14, Katherine +Jones to Charles C. Smith.—<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"—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>—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>—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>—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,—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 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."</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—"chaperon," "patroness," etc. For instance, +can we say that "Mr. and Mrs. Smith acted +as chaperons"?</p> + +<p><b>5. Social Announcements.</b>—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—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.</p> + +<p><b>6. Unusual Social Stories.</b>—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.—<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—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.—<em>Milwaukee +Free Press.</em></p> +</div> + +<p><b>7. Obituaries.</b>—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.—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.—<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—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:</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.—<em>New +York Tribune.</em></p> +</div> + +<p>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:</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—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—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>—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.—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.—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.—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>—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>—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.</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.—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.—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.—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.—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.—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.—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.—This paragraph usually begins +the running account of the game.</p> + +<hr class="hr6" /> + +<p class="hang">N-th Paragraph.—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 2 1 3—6</td> +</tr> +<tr> +<td class="tdleft">Siwash...........................</td> +<td class="tdright">0 0 0 0—0</td> +</tr> +</table> +<p class="nt nb">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.</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—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<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—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<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—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—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<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—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>—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.—<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>—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—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.—<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>—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—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<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—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—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—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.</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 ——, +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—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.</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—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.</p> + +<p><b>4. The Animal Story.</b>—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.</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>—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<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—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—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<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—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<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—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 —— 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.</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—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<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—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 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.</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 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.</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 —— 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—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.</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—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<span class="pagenum"><a name="Page_275" id="Page_275">[275]</a></span> +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.</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>—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—</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—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—[cheers]—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—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.—<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—I have nothing to say.<br /> +Question—Were you there?<br /> +Answer—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—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.—, 2.—.</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—, Answer—, +Q.—, A.—.</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 & 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.</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. & St. P. Ry. (Chicago, Milwaukee +and St. Paul Railway); C., C., C. & 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"—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—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"—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—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—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—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.</li> + +<li>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.</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—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—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—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—an interest +beyond the mere fire itself—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—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.</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—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—experiment with and without articles.</li> +<li class="li2">b. Infinitive—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—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—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—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—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—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—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—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.—</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—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—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. 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—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—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—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>–<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>–<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>–<a href="#Page_200"><b>200</b></a>;<br /> +<span class="i1">of human interest stories, <a href="#Page_244"><b>244</b></a>–<a href="#Page_250"><b>250</b></a>;</span><br /> +<span class="i1">of interview stories, <a href="#Page_179"><b>179</b></a>–<a href="#Page_187"><b>187</b></a>;</span><br /> +<span class="i1">of speech reports, <a href="#Page_151"><b>151</b></a>–<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–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>–<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>–<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 /> +Coöperation 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>–<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>–<a href="#Page_116"><b>116</b></a>.<br /> +Criticism, dramatic, <a href="#Page_259"><b>259</b></a>–<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>–<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>–<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>–<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>–<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>–<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>–<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>–<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>–<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>–<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–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>–<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>–<a href="#Page_232"><b>232</b></a>.<br /> +Form of the news story, <a href="#Page_34"><b>34</b></a>–<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>–<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>–<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>–<a href="#Page_255"><b>255</b></a>.</span><br /> +Interview stories, <a href="#Page_175"><b>175</b></a>–<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>–<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>–<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>–<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>–<a href="#Page_90"><b>90</b></a>;</span><br /> +<span class="i1">in follow stories, <a href="#Page_127"><b>127</b></a>–<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>–<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>–<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–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–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>–<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>–<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>–<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>–<a href="#Page_40"><b>40</b></a>, <a href="#Page_92"><b>92</b></a>–<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>–<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">coöperation 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>–<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>–<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>–<a href="#Page_124"><b>124</b></a>.<br /> +News story form, <a href="#Page_34"><b>34</b></a>–<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>–<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>–<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>–<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. & 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>–<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>–<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>–<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>–<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>–<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>–<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>–<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>–<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>–<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>–<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>–<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>–<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>–<a href="#Page_104"><b>104</b></a>;</span><br /> +<span class="i1">feature fire, <a href="#Page_50"><b>50</b></a>–<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–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>–<a href="#Page_140"><b>140</b></a>;</span><br /> +<span class="i1">form of news, <a href="#Page_34"><b>34</b></a>–<a href="#Page_40"><b>40</b></a>;</span><br /> +<span class="i1">news, <a href="#Page_34"><b>34</b></a>–<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>–<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>–<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>–<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>–<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>–<a href="#Page_33"><b>33</b></a>.<br /> +Testimony, <a href="#Page_200"><b>200</b></a>.<br /> +<em>That</em>–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>–<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 + +*** END OF THIS PROJECT GUTENBERG EBOOK NEWSPAPER REPORTING *** + +***** This file should be named 25968-h.htm or 25968-h.zip ***** +This and all associated files of various formats will be found in: + http://www.gutenberg.org/2/5/9/6/25968/ + +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.) + + +Updated editions will replace the previous one--the old editions +will be renamed. + +Creating the works from public domain print editions means that no +one owns a United States copyright in these works, so the Foundation +(and you!) 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