Reading list study guide for midterm
Chapter 1: An objective approach
Pages 17-27
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Remain neutral.
Avoid opinion and commentary unless it’s in quoted material.
Do not construct libelous sentences, avoiding “for” always and “allegedly”
whenever possible.
Tell all sides of the story, giving equal space and detail to all parties. This
includes fairly quoting all parties.
Critical statements must be attributed to the sources who said them. If the
statements cannot be attributed to anyone other than the writer, leave those
statements out.
Objectivity relies heavily on thorough reporting. You must do the legwork.
Chapter 2: What is and isn’t news
Pages 37-52
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The news value elements are listed on your study guide for the midterm.
Those elements should be immediately clear to your reader and likely will be in
your lead.
A news peg is a development in an ongoing or initial story. Follow-up stories
must have a news peg and not simply rehash what previously has been reported.
A news angle is the approach the writer decides to take to tell the reader about the
news peg.
Chapter 3: Self-editing
Pages 77-84
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As I’ve said before, you must make sure your story is complete.
You must include all parties and give a voice to even those on the margins of an
issue.
You must double-check your facts.
You must not assume anything. Do the research if you’re guessing. Find out the
truth.
Misinformation: If you know what someone has said is not true, then you cannot
print it alone. You must find other sources to give credibility to the statement,
clarify it or refute it.
Sensitivity: Journalists must strive to be fair and balanced. That is not just a
catchphrase for Fox News; it is the heart of this profession. You do not libel, and
you do not paint an unfair picture. You try to tell all sides and be sensitive to all
sides.
Chapter 4: Style (writing style – not AP style)
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Show, don’t tell, your readers what happened. Read box in text.
Use colorful language and varied sentence structure.
If your story is repetitive and simple-minded, your readers will either get bored or
be insulted.
Finesse each sentence.
One sentence (typically) per paragraph
Best in formation first.
Use active voice. Example: The horse and buggy trampled the 2-year-old.
Don’t use passive voice. Example: The 2-year-old was trampled by the horse and
buggy.
Technical terms: Get them right and get to know what they really mean. You
cannot convey a complex idea to your reader if you do not understand it yourself.
Don’t get so caught up in the subject matter that your writing sounds pretentious.
Big, flashy words don’t get you very far if you misuse them or if they don’t suit
the tone or topic of your story.
Cut the fat. Write each sentence as tight as possible. Remember that space and
time are limited.
Clichés and trite expressions are not clever. Readers know you didn’t put much
effort into a story if it is chocked full of cliché.
Colloquialisms and slang should be used only when they fit the tone and topic of
your story.
Chapter 5: Ledes
Pages 115-122 and 132-133
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Know the five W’s, the H and the SW.
The summary lead is the most straightforward option. It gets all the critical info in
there and doesn’t leave the reader guessing.
The narrative lead attempts to humanize the story and draw the reader in. Such
leads use direct quotes, scene-setters and anecdotes. Take this approach with
“soft” stories.
Chapter 6: Transitional words and phrases
Pages 158-160
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Use transition to take your reader from one moment, or one character, to the next
Use them to make comparisons or show contrast.
Sometimes – but not always – attribution can serve as transition. Do not rely on
this method.
The nut graf of a story is the hook. It works just like a hook in a song. It tells your
reader why this story is important and puts the news peg into perspective. A nut
graf is essential when using nontraditional ledes.
Chapter 7: Quotes and attribution
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See the handout issued earlier in the semester.
Learn how to use direct quotes, summaries, paraphrase and partial quotes.
Know how to punctuate all types. (For the most part, keep punctuation inside the
quote marks.)
Readers will get bored if you just stack quote after quote. That is not creative, and
writers must be creative. This section in the text explains how to weave in full
direct quotes, partial quotes, paraphrase and summaries. It also tells you how to
use attribution – that way your story doesn’t have to say “he said” and “he said”
and “he said.”