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