| |
| |
Stories matter | |
| |
| |
| |
Delving into private lives | |
| |
| |
| |
The narrative idea | |
| |
| |
| |
Difficult journalism that's slap-up fun | |
| |
| |
| |
Finding good topics : a writer's questions | |
| |
| |
| |
Finding good topics : an editor's questions | |
| |
| |
| |
Reporting for narrative : ten overlapping rules | |
| |
| |
| |
To tape or not to tape? | |
| |
| |
| |
Interviewing : accelerated intimacy | |
| |
| |
| |
The psychological interview | |
| |
| |
| |
Participatory reporting : sending myself to prison | |
| |
| |
| |
Being there | |
| |
| |
| |
Not always being there | |
| |
| |
| |
Reporting across cultures | |
| |
| |
| |
Reporting on your own | |
| |
| |
| |
Field notes to full draft | |
| |
| |
| |
Doing enough reporting? | |
| |
| |
| |
From story idea to published story | |
| |
| |
| |
(Narrative) J school for people who never went | |
| |
| |
| |
Profiles | |
| |
| |
| |
The ladder of abstraction | |
| |
| |
| |
Every profile is an epic story | |
| |
| |
| |
The limits of profiles | |
| |
| |
| |
Travel writing : inner and outer journeys | |
| |
| |
| |
The personal essay and the first-person character | |
| |
| |
| |
First personal singular : sometimes, it is about you | |
| |
| |
| |
Columns : intimate public conversations | |
| |
| |
| |
Writing about history | |
| |
| |
| |
Adventures in history Melissa | |
| |
| |
| |
Narrative investigative writing | |
| |
| |
| |
Public radio : community storytelling | |
| |
| |
| |
What narrative writers can learn from screenwriters | |
| |
| |
| |
To begin the beginning | |
| |
| |
| |
Narrative distance | |
| |
| |
| |
Hearing our subjects' voices : quotes and dialogue | |
| |
| |
| |
Hearing our subjects' voices : keeping it real and true | |
| |
| |
| |
A story structure | |
| |
| |
| |
Summary versus dramatic narrative | |
| |
| |
| |
Weaving story and idea | |
| |
| |
| |
Endings | |
| |
| |
| |
Character | |
| |
| |
| |
Details matter | |
| |
| |
| |
Developing character | |
| |
| |
| |
Reconstructing scenes | |
| |
| |
| |
A reconstructed scene | |
| |
| |
| |
Setting the scene | |
| |
| |
| |
Handling time | |
| |
| |
| |
Sequencing : text as line | |
| |
| |
| |
Writing complicated stories | |
| |
| |
| |
How I get to the point | |
| |
| |
| |
The emotional core of the story | |
| |
| |
| |
Telling the story, telling the truth | |
| |
| |
| |
On voice | |
| |
| |
| |
The line between fact and fiction | |
| |
| |
| |
Toward an ethical code for narrative journalists | |
| |
| |
| |
Playing fair with subjects | |
| |
| |
| |
Securing consent | |
| |
| |
| |
Truth and consequences | |
| |
| |
| |
Dealing with danger : protecting your subject and your story | |
| |
| |
| |
A dilemma of immersion journalism | |
| |
| |
| |
Ethics in personal writing | |
| |
| |
| |
Taking liberties : the ethics of the truth | |
| |
| |
| |
The ethics of attribution | |
| |
| |
| |
What about endnotes? | |
| |
| |
| |
On style | |
| |
| |
| |
A writer and editor talk shop | |
| |
| |
| |
Revising - over and over again | |
| |
| |
| |
Transforming one hundred notebooks into thirty-five thousand words | |
| |
| |
| |
How to come lip short | |
| |
| |
| |
Narrative in four boxes | |
| |
| |
| |
Serial narratives | |
| |
| |
| |
Care and feeding of editors and writers | |
| |
| |
| |
Beginning in narrative | |
| |
| |
| |
A brief history of narrative in newspaper | |
| |
| |
| |
Nurturing narrative in the newsroom | |
| |
| |
| |
A storyteller's Lexicon | |
| |
| |
| |
Narrative as a daily habit | |
| |
| |
| |
Building a narrative team | |
| |
| |
| |
Two visions, one series : a writer and an editor talk about what they do | |
| |
| |
| |
Team storytelling | |
| |
| |
| |
Photographer as narrative storyteller | |
| |
| |
| |
Subversive storytellers : starting a narrative group | |
| |
| |
| |
Making it as a freelancer | |
| |
| |
| |
Not stopping : time management for writers | |
| |
| |
| |
Lessons from the jury box | |
| |
| |
| |
Working with an agent Melissa | |
| |
| |
| |
What makes a good book? | |
| |
| |
| |
From book idea to book contract | |
| |
| |
| |
Your book and the marketplace | |
| |
| |
| |
Crossing over : from advocacy to narrative | |
| |
| |
| |
A passion for writing | |
| |