Tuesday, May 1, 2012

Language & style - translation


Chapter 13: Language & style - translation

In the previous three chapters on Language & Style we looks at structures, words and grammar. In this, the final chapter in this section, we look at these issues in the context of reporting and writing across different languages, some of the challenges of translation and some of the main dangers to look out for.
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If you are a journalist working in a multilingual society, you may have to work in more than one language. Whether you gather the information in one language and write the story in another, or whether you write a story first in one language and then rewrite in another language, you face the task of translation. However, if you have a good command of both languages and follow a few simple rules, translation should not be difficult.
The previous three chapters on language and style have looked at structure, words and grammar. In this, the final chapter in this section, we provide some general guidance when working in more than one language. This is written only in English, but the processes we describe always involves two or more languages. It is possible that English will not be one of the languages you work in when translating. To avoid confusion, we will call the language which you are translating from (or conducting interviews in) thesource language; and we will call the language you are translating into (or writing the final story in) the target language.

The principles of translation

The first thing to remember is that translation is the transfer of meaning from one language to another. It is not the transfer of words from language to language. You must translate the meaning of what is being said, rather than do it word-for-word. This is because languages are not just different words. Different languages also have different grammar, different word orders, sometimes even words for which other languages do not have any equivalents. The English spoken by a scientist may have words which a simple farmer cannot even start to imagine. And the farmer is likely to have words for things the technologist never dreamed of.

Simple steps in translation

We will start by talking about the simplest form of translation - the one where you already have a story written down in one language (the source) and you want to translate it into another language (the target). The steps to follow are:
  1. Read the whole of the original source story through from beginning to end, to make sure that you can understand it. If you cannot understand everything that is said, you cannot translate it. If there are any words or phrases that you do not understand, you must clarify these first. You may decide that the ideas they express are too difficult to translate or not worth translating, but you need to know what they are before you can judge.
  2. Do a first draft translation, trying to translate all the source material. But do not translate word-for-word. Remember that you are translating the meaning. When you have finished the first translation, you will now have a draft story in the target language.
  3. Go back over the whole of your draft translation and polish it without looking at the source original. (You might even like to turn the source story face down on your desk so you cannot cheat.) Make sure that your translation reads well in the target language.
  4.  Compare the final version of your translation with the source original to make sure that you have translated it accurately. This is when you can make any detailed adjustments in individual words or phrases.

False friends

Beware of words or phrases we call "false friends". These are words in the original source language which you retain in your translation, often because you cannot think of the correct translation. If you cannot think of the right word, how can you expect your reader or listener to? Of course, languages borrow from each other all the time. If a society comes across a new idea, it may simply use the foreign word without inventing a word of its own. Remember, however, that you are translating meaning, not words. If you come across a word in your original language which has no equivalent in the target language, perhaps you can use a phrase (i.e. several words) instead. For example, many languages do not have a word for "computer". Instead of retaining the English word "computer", can you translate it as "a machine which does brain work" or something similar? Be careful, though, that you do not try to re-invent the community's language to suit your own way of thinking. If you have problems with translating words, consult experts or ask your colleagues to see if you can reach agreement on the correct translation. If you are a journalist working in a small language community, the words you decide upon could become the standard usage.
Of course, some foreign words will inevitably creep into other languages. Words like "computer" are becoming widely accepted by speakers of non-English languages and may eventually be understood by everyone. The problem arises in the time between the foreign word being first introduced and it being understood by everyone. During such transition periods, use the word untranslated, but follow it immediately with a translation or explanation. For example, you might write in your target language the equivalent of:
The provincial government is to buy computers for each of its local offices. The computers are machines which will help office staff to keep accounts, write letters and do other jobs.

Dictionaries

You cannot translate words in isolation. Words get their meaning from how they are used in each situation - what we call their context. You must do a contextual translation. You should use a bilingual dictionary where one is available, but be careful when looking up translations for individual words. Dictionaries are useful, but there is very often more than one translation for individual words. The best dictionary is one which defines the word in its various contexts. For example, a simple English word like "skip" has several quite different meanings. It can mean any of the following, depending on the context: to move lightly, especially by jumping from one foot to another; to omit or leave something out; to deal with something quickly and without much thought; a large container for transporting building materials, especially waste. It can even be short for "skipper", the captain of a ship or sports team. You can see that using the wrong translation of "skip" could have some unfortunate results.
Listen to the little voice in your head if it tells you that a translation seems strange. It is better to ask advice than to write something silly. You may not know all the uses for each word, especially slang words which you cannot find in dictionaries. For example, mechanics often refer to an adjustable spanner as a "monkey wrench", when it has nothing to do with monkeys.

Writing style

You do not have to be an expert in linguistics to make good translations. If you know your target language well, you can usually hear in your head whether the sentence sounds correct in your translation.
Your translation should not try to duplicate the word order or grammatical construction used in the source language unless it is also correct in your target language. For example, some languages put the verb (the "doing word") at the beginning of a sentence, some in the middle and some at the very end.
You do not have to use all the words from your source material for translation if your target language can cope without them. For example, we may say in English "The ship sank lower in the water", whereas in another language the words "in the water" may be unnecessary because the words for "sink" in relation to "ship" already includes the idea of "water".
Also, do not be afraid of using more words in your translation than in the original. Although in journalism you should aim to keep your sentences short and crisp, this must not be allowed to interfere with the clarity of the ideas you are trying to communicate.

Some other problem areas

Translation is a very big and complicated field which we cannot discuss in great detail here. However, the following are some other problem areas you might want to keep in mind:
Understatements and euphemisms
Be aware of the cultural differences in languages. Some languages like to hide unpleasant facts beneath understatements or euphemism. Euphemisms are mild or inoffensive words which are used in the place of harsh or hurtful words.
Some speakers might use humour in one situation which another language would not permit. Again, you must understand the meaning in context.
Linking words
Words such as "although", "but", "from", "even" and a host of others are usually very important in English, as they are used to show the relationships between the words in your sentences. Getting these small words wrong can alter entirely the sense of the sentence.
Verbs
These can sometimes cause problems in their different forms. There are, for example, quite distinct meanings for the words "can", "may", "must" and "should". If you are not sure, it is best to avoid the construction altogether and say it a different way.
Accuracy
Some languages are more accurate than others in certain areas. For example, many language groups in Papua New Guinea have more than 10 different words for varieties of sweet potato. The Inuit Indians of Canada have different words for 20 separate things which in English we just call "snow".
English is not a precise language in many areas. Be aware that a vagueness in English may not be acceptable in another language. For example, we can say "Doctor Smith" in English, whereas in Chinese we have to know the gender of the doctor to translate the word "doctor".
Ambiguity
Sometimes the exact meaning in the source language is left unclear (ambiguous) on purpose, in which case you should try to keep it that way. This is especially so when reporting claims, accusations and hearsay evidence in such things as police stories. For example, a person might be charged in English with "unlawful carnal knowledge", which usually means a sexual offence against a person under the age of consent. You should not translate that as "rape of a child" or "sodomy of a little boy" or any other specific sexual act unless that is part of the charge. It is better in this case to use a phrase similar to "a sexual offence against a young person".

Names and titles

There is still a debate about the need or otherwise of translating names from one language into another. For example, would you retain the English title "Education Department" or translate it into something like "office for schools"? Of course, a lot depends on how the rest of your community use the term, especially those people who are most closely involved, such as the Education Department itself. Your newspaper, radio or television station may have a policy on this. If not, perhaps you should get together to decide on a policy, taking into account how the community in general deals with names and titles. Get a large, hard-bound exercise book for the newsdesk, thumb-indexed A to Z down the side. You can call this your Translation Style Guide. Once you have agreed on the correct translation for any problem word, enter the word with its translation on to the correct page in the book. Revise the book every so often to make sure that all the entries are still relevant. If your newsroom computers are networked, create a common file which everyone can access.
There are two ways people use names (or titles). The first is to identify the place or person, the second is to describe their function. It is usual to leave untranslated names which act as signposts for people, but translate those names which describe a function. For example, you would not translate the word "Baker" in the name "Baker Street", because it acts as a signpost, but you would probably translate the name "Police Station".
If a language used by your community is also used elsewhere in the world, you should remain aware of how it is spoken in other countries. For example, French may be commonly used in your society, so you need to keep up-to-date with how French is used in other French-speaking countries. Remember that all languages change, especially in their motherland. Constantly refresh your understanding of the way the language is developing both in your own society and elsewhere.

Translation during news gathering

So far, we have talked mainly about rewriting a story in one language into a story in another language. But your work may involve interviewing in one language and writing the story itself in another language. For example, your newspaper may be printed in English, but you have to interview a villager in his mother tongue which is not English.
The best way of doing this is to conduct the interview in the villager's language and make your notes in that language too. You can then translate your quotes into English as you write your story. This method means that, while you are conducting the interview, you can ask questions in the villager's language to clarify any doubtful points. You can also check your story back with him in his language to make sure you have the facts correct.
However, some languages may have been written down only recently and so may not have a clear and easy written form in which to make your notes. If this is so, and if you are fluent in both languages, you may be able to listen in the villager's language while making your notes in English. You are translating as you listen and write. This may work perfectly well, but a word of warning: Trying to translate while also concentrating on what the villager is saying may introduce errors into your notes. Ask the villager to slow down a little so that you can make your notes, then check your notes at the end of the interview by translating them back into the villager's language for him. Radio and television journalists can overcome this problem by using their tape recorders, but newspaper reporters might also find a tape recorder useful in such situations. You should still make notes, but have a tape recorder running at the same time so that you can check later to make sure that you made the correct translation during the interview. (See Chapter 16: Interviewing basics.)
There is one final complication of which you must be aware. This comes when you are interviewing in a source language, writing your story in a target language and then having to translate the same story back into the source language. This might occur if you have to produce a special language bulletin or an edition of your newspaper in the source language. The danger is that you might not get an exact translation back into the source language, and so you might misquote someone. When writing a story which has to be translated twice, always refer back to your original notes when writing your second story, so that you can get the quotes exactly right.

TO SUMMARISE:

As this is the last of the four chapters on Language & Style, lets look back at the main lessons we've learned in this section:
  • You must keep your language clear and simple so that your readers or listeners can understand.
  • Sentences should be short - no longer than 20 words or three concepts (ideas). Sentence structure should be simple; it is best to write in the active voice.
  • Explain any new words whenever you use them.
  • Avoid jargon, unnecessary words and clichés.
  • Check all your work to make sure that everything you write obeys the rules of grammar and punctuation.
  • When translating, translate the meaning of sentences, not the individual words.
  • Always keep your readers or listeners in mind whatever you write.

Copy presentation


Chapter 14: Copy presentation

Here we consider the importance of how you present your copy, and we suggest a good style for copy presentation. We also consider how to dictate copy by telephone.
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Most newspapers, radio and television stations today have computers for reporters to use to type their copy (stories). There are many different kinds of computer and many different programs used with them.
If you are using a computer, there will be certain rules which you must follow, to tell the computer who you are and what you are doing. The computer can perform the actions you need but you must make the decisions on how your copy is presented, filed and distributed.
Every piece of copy which you write - every news story, every feature - should follow some simple rules for presentation. These rules vary slightly from one newspaper or broadcasting station to another, but they all serve the same purposes - to improve the smooth management of lots of stories, from the reporter through the sub-editors to the printers – or website - and to avoid errors. While many newsroom systems now make it possible to take a story from through the production process from reporter to press room, studio or website designer without ever printing out paper copies, there will always be occasions when a paper copy of a story, page or bulletin is needed, so knowing how to handle paper copies is still important.
So all reporters typing copy need to follow certain rules, to make sure that difficulties do not arise.

Basic rules for copy presentation

Your newsroom may already have a style for the way in which copy should be presented. If so, you should follow it. If your newsroom does not have a style, this is a good one to use. (Later in this chapter, we shall see an example of copy presented in this style.) These are the basic rules:
  • The first page of each story or feature should have three pieces of information in the top left-hand corner or – if your newsroom computer has a standard template for writing stories – in the appropriate field:
    a) your surname;
    b) the date;
    c) catchline and page number 1.
  • The catchlines is a key word of the story, chosen by you to identify this particular story. Keep the catchline short and simple, but avoid using general words such as "church" or "meeting", which might get used on another story by another reporter. Use distinctive words such as "methodist" or "revival".
  • These three pieces of information will not be published with your story. It is not necessary, therefore, to use initial capital letters for any of the words. Since it takes slightly longer to type a capital letter than a lower case letter (there are two keys to press instead of one), and since journalists are always in a hurry, you may type all this information in lower case letters if you wish.
  • Each subsequent page should have in the top left-hand corner the catchline and page number: "methodist ... 2", "methodist ... 3" and so on.
  • Use double or triple spacing so corrections can be made on printed copies or so the newsreader can read the text comfortably on air, either from the printed paper copy or the studio computer screen or teleprompt machine (often referred to as an Autocue).
  • Leave good margins on the sides and bottom of the page.
  • Never start a paragraph on one page and continue it on the next.
  • Write the word "more" or the letters "mf" (more follows) at the bottom of each page if the story is not finished.
  • Write the word "ends" at the end of the story or "###" depending on the house style of your organisation. [Traditionally in the United States, journalists typed the number "30" to signify the end, but this convention is seldom used today.]
Radio style
For radio copy, the style must be slightly different.
  • Try to keep stories short, with the whole story on one sheet of paper if possible.
  • Every word must be spelled correctly and be grammatically correct, otherwise it may cause the newsreader to stumble.
  • Type proper names in capital letters.
  • Do not split phrases from one line to another.
  • Write the pronunciation of difficult or foreign words in brackets immediately after the word.
(See Chapters 48 and 49: Radio and Television.)

Television style

For television cop, you need a special style, so that the script can synchronise with film reports, captions and other visual effects.
The copy must include details of timing, studio instructions and details of accompanying film or video clips.
This is a specialist field, and you are advised to consult a specialist book in this field, though for general advice you can check Chapters 48 and 49: Radio and Television.

Phoning copy

It is not always convenient for reporters to write their stories in the newsroom. If they are at the scene of a news event, and if time is pressing, it is usually better for them to write the story where they are, and send it in to their newsroom by telephone.
The best way to do that is with a portable laptop or notebook computer and modem. The reporter uses the laptop computer in the same way as the desktop computer in the office. Then, when the story is written, the modem is used to connect the laptop to a telephone, and the story can be sent down the telephone line to the newsroom, where it can be received by the newsroom computer. There is no need for the story to be typed again.
This is very efficient, but it depends upon having the right equipment (which is quite expensive) and upon having dependable telephone lines. Very often, in developing countries the quality of the telephone lines is not good enough to allow successful use of computer modems.
The cheaper alternative is for the reporter to dictate his or her copy by telephone to a typist in the newsroom, who will type it as it is spoken.
This, too, requires some investment in equipment, though only on a small scale. The copy-taker (that is the typist who will take the copy) must have both hands free to type with; this means that he or she will need a headset instead of the usual telephone receiver. This is usually a pair of headphones with a microphone attached. This must be next to a computer terminal, or typewriter, which can be made available whenever it is needed.
How to phone copy
The reporter who has to phone copy to the newsroom will first need to write the story. This can be done with a pen and paper, in longhand or shorthand, so long as the reporter can read it clearly.
Once the story has been written, the reporter must find a telephone, call the newsroom and ask for someone to take the copy. Once this person is ready, they can begin.
It is very important that the reporter speaks slowly and clearly, spelling all proper names. Even punctuation should be spoken clearly, so that the copy which is typed in the newsroom is precisely what the reporter wants.
For example, let us imagine that you have to phone the following copy:
Police have warned the public about three men who escaped from Bomana Jail yesterday.
"These men are ruthless and dangerous," said Superintendent Walter Geno, who is leading the hunt.
"The public should not try to tackle them. If anybody sees them, they should contact the police at once."
You should read it as follows (read it out loud yourself now, pausing for a few seconds at every set of three dots):
Police have warned ... the public ... about three men ... who escaped ... from  Bomana ... that's capital B, O, M, A, N, A ... Jail capital J ... yesterday point new par. Open quotes ... These men ... are ruthless ... and dangerous comma close quotes ... said superintendent capital S all one word ... Walter ... capital W, A, L, T, E, R ... Geno ... capital G, E, N, O comma ... who is leading the hunt point new par. Open quotes ... The public ... should not try ... to tackle them point. If anybody ... sees them comma ... they should ... contact the police ... at once point close quotes new par.
How fast you can read this will depend on how fast your copy-taker can type. You and the copy-taker will also have to get to know each other, in order to make this exercise as quick and as efficient as possible.
When you have finished dictating the whole story, the copy-taker should read it all back to you. Whenever you hear a mistake, jump in and correct it. The copy-taker can then make the correction.
There will probably still be some mistakes, at least until both the reporter and the copy-taker have had plenty of practice. This is especially true if you are working in a second language.
When the reporter gets back into the newsroom, and when there is a quiet moment, the reporter and copy-taker should sit down together and compare the reporter's version of the story with the copy-taker's version. Whenever there is a mistake, they should discuss how it happened - perhaps it was the reporter's pronunciation, or the copy-taker's language error - and then they can find ways to stop it happening again. For instance, if the copy-taker is not sure when to use "there" and when to use "their", the reporter may have to spell the word each time. This will make the exercise slower, of course, but it will get the right results.

Advanced copy phoning

When you become good at phoning copy, and if there is an occasion when time is extremely limited, you can try to phone copy without writing it all down first.
This sounds very difficult, but like any skill it becomes easier with practice.
The important thing is to structure the story on paper first. This means that you will write a list of the things to be covered in the story, in the order you want to cover them, but without writing the story itself.
Many reporters like to write the intro, and perhaps the second and third paragraphs, too, and then compose the rest as they go along.
If you were doing this, your story structure which you write down might look like this:
Police have warned the public about three men who escaped from Bomana Jail yesterday.
Geno quote.
Search details.
Escape details.
3 men details.
You would then read the intro, as we already discussed; and then construct the story from your notes as you phone it in.
Seeing "Geno quote", you would find the Supt Geno quote in your notebook, and read the next two paragraphs as they are written in our earlier example.
Then, seeing "Search details", you would turn to your notes where Supt Geno was telling you about the search for the escaped men, and dictate two or three paragraphs telling that part of the story.
In other words, it is exactly the same as writing a story, but is done by speaking it out loud instead of writing it down.
The main difficulty in this technique is to remember what you have already said, and how you said it. You may need to ask the copy-taker occasionally to read back to you the last sentence or two, so that the next bit can flow on smoothly.
This is not an easy technique, but it is essential whenever time is precious. Newspaper reporters should try to master the technique, in order to give the best possible service to their readers.
Broadcasters often need to send a voice report by telephone in this way, in order to bring important news to the public as quickly as possible, although it is always better to write a script first if possible. If you do not have time to write a script before phoning a story, remember to keep sentences short. Many experienced radio reporters close their eyes after looking at each line of their notes, so that they can concentrate fully on what they are saying and how it sounds.

TO SUMMARISE:

Write your copy in a way which makes it easy for other people to understand and to work with.
If your newspaper, radio or television station has its own copy presentation style, use it; otherwise use the one suggested in this chapter.
When phoning copy, do it in a way which makes it difficult for mistakes to happen.

Newsroom books


Chapter 15: Newsroom books

Here we look at the books which you will need to use as a journalist, and how to get the best out of them. We look at the notebook, contacts book, newsdesk diary, style book and various reference books.
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Journalists cannot know everything or remember everything. They need to write down information which they will need in the future; and when they need the information, they need to know where to find it.
There are many kinds of books which will make you a better journalist if you know how to use them properly.

Your notebook

Even in the digital age, the notebook is an essential tool of a journalist's trade, whether working in print, radio, television or online. Few people have memories good enough to remember everything they are told, and there is no room in journalism for getting things "roughly right". The notebook allows you to record essential details and organise information; it frees your mind for thinking.
However, it is no use carrying a notebook around unless you are able to use it properly and consistently.
Whenever someone starts to talk, you should assess whether or not it is likely to be newsworthy. If it is, take out your notebook and start taking notes.
Many young journalists are embarrassed to take their notebooks out in front of people. Remember, if a person is to be quoted, he or she would much prefer that you get a correct version than be misquoted. If there is any doubt in your mind about a person's willingness to be interviewed, ask if they object to you making notes. If they do, try to remember what they said and write your notes up as soon as they have gone. Be careful though. Your notes will not be so accurate and you must bear this in mind when you are writing your story.
The equipment
Do not struggle with notebooks which are either so large that they become impossible to hold or so small that they do not hold enough information and leave you turning the page for every sentence.
Ideally you should choose a notebook with the following features:
  • It should sit comfortably in one hand. This is useful whenever you have to make notes standing up or walking.
  • It should have a hard back for support.
  • It should have a metal spiral at the top to make it easier to flip pages over.
  • It should have feint rules on both sides of each page.
Once you have found a make of notebook that you like, stay with that make where possible. It will be one less thing to go wrong.
Before you attempt to make notes, also make sure that you have either a sharp pencil or a working ballpoint pen, whichever you prefer, and always have at least one spare. Regularly check all your pens and pencils to make sure they are in working order. If in doubt, throw it out.
Using the notebook
As soon as you get a new notebook, write your name and the name of your news organisation clearly on the cover, in case it ever gets lost.
Write on the cover the date when you start using it. This is useful for future reference.
Hold the book firmly in your hand, with the cover and any used pages flicked well out of the way. On windy days, hold any free pages firmly under the book.
You can even hold down used pages by putting a rubber band around them.
reporters notebookStart every story on a new page, even at meetings where there are several stories (e.g. Parliament).
At the foot of your new page, mark clearly in longhand:
a) the title of the meeting or full name of your interviewee and
b) the date and place of the meeting or interview.
It is easier to flick through the notebook looking for these details at the foot of the page, than to look for them at the top of the page.
Many journalists like to draw a rough margin down the left-hand side of each page, in which they can make longhand notes or marks of emphasis. Others like to draw a line down the centre of the page, which allows them to get two columns of shorthand per page. This is especially useful if your shorthand outlines are small.
Note clearly whenever a new person speaks or the speaker touches on a new topic. This does not need to be a full title, just enough for a reminder. Leave a blank line between new speakers and/or topics.
Clearly mark those passages, words, figures etc. which you regard as important. You should develop your own system of marks, preferably made in the margin. For example, one stroke alongside your notes for any material you must include in your story, two strokes for more important sections and three strokes for the most important angle or remark.
Work your way through your notebook in an orderly fashion, starting at the front and using only one side of the paper. This makes it much easier to go back through your notes when you need to recap.
When you come to the end of the book, turn the whole notebook over and start again, using the reverse side of each page.
At an interview, always review your notes quickly before you thank the interviewee and leave. This allows you to identify any areas you may have missed or which are unclear. It is always a good idea to go through your notes after the interview, before sitting down at the keyboard. This is the time when you should go over any doubtful shorthand outlines and put extra marks or key words in the margin. If you review your notes while they are still fresh, you decrease the chance of making errors in reading them back.
On occasions you may make notes of an interview or meeting without expecting to use them immediately, for example if they are part of your research into a future feature article. Always type these notes up straight away. If you do not, when you return to them in a week or a month, you may find that you cannot read your shorthand.
When you have used the notes, strike them out with a single diagonal line across each page. This makes the task of finding "active" notes a lot simpler.  Do not obliterate the pages and never tear them out. You may need to refer back to them at some time in the future, such as in the case of a complaint.
When you reach the last page of your notebook, you will have used only one side of each page. Now turn the whole notebook over and work your way from the back to the front, using the other side of each page.
When a notebook is finished, do not throw it away. Mark the date you finish it clearly on the front cover, then store the book safely in your desk drawer or filing cabinet. You can eventually throw the books out, but make it a policy never to discard a notebook for at least a year after it is finished. You never know when you might need it again. Should you be accused of defamation, for example, a properly marked notebook can be produced as evidence in court and may help in your defence.
Finally, there will be occasions when you are caught without a notebook, maybe at a social event. Then you must make use of whatever paper is handy. Most experienced journalists have, at some time in their careers, used paper napkins, the backs of menus and even beer mats, peeled apart to give them two white squares of paper. This is only for emergencies, though. There is no substitute for a well-kept notebook.caught without a notebook

Contacts books

It is often said that a reporter is only as good as his or her contacts book. Whether it is a real book or simply files on a computer or personal digital assistant (PDA), it serves the same purpose. So what is it about a contacts book which makes it so important?
Whenever you write a story, you need two things. You need information and you need quotes. In order to do your job well, you have to know who to contact for these things.
Your contacts book is the list of people who you know are prepared to be helpful to you, together with their telephone numbers, email addresses, fax numbers, addresses, or whatever other information you need.
It is basically just an address book, the sort of thing which many people keep by their telephone with a list of their friends' numbers. The best ones have a thumb index, so that you can turn straight to the letter you want. What makes your contacts book special is the names and numbers which you put into it.
Every time you write a story, and speak to someone who was helpful, put their name, job title and telephone number in your contacts book. The next time you need to speak to somebody about the same subject, you will know who to call.
It is useful also to cross-refer. For example, suppose you have just phoned the Agriculture Department to talk to someone about fish farming. You have found that a Dr John Sine, who is the Manager for Aquaculture Development, is very knowledgeable and happy to talk to you.
The best place to put this entry into your contact book is under A for Agriculture. So on the A page you need to enter:
Dr John Sine
Manager for Aquaculture Development
Agriculture Dept
215-1000
jsine@dag.gov.pg
But the next time you want that name, number or email address, you may have forgotten who he works for. You may only remember that he was the fish farming man. So on the F page you need to enter:
Fish farming - see Agriculture Dept, John Sine
Or the next time you may just remember Dr Sine's name, but not remember what it was he knew so much about. So on the S page you need to enter:
John Sine - see Agriculture Dept (fish farming man)
This may take a few minutes to do, but it is something which you will only have to do once. It will give you a contacts book which will save you time when you really need it. If you are using contacts/address book software on your computer or PDA there is usually a function to make cross-referencing easier.
Look after your contacts book, keep it safe and it will serve you well.
Personal contacts book; are personal property. Do not look in another journalist's personal contacts book unless they give you their permission. If you need a contact, ask your colleagues if they have any.
Newsroom contacts book
In addition to the contacts book which each reporter will have, it is useful for the newsroom itself to have a contacts books.
This will contain all those people who are able and willing to help your news organisation. Many of them will be the same people in the reporters' personal contacts books.
However, it is important that the newspaper, radio or television station has a collective memory, so that each new reporter does not have to start all over again establishing all the contacts.
Reporters will probably not put all their personal contacts into the newsroom contacts book. Sometimes a contact trusts only one particular reporter, not the whole newsroom. This person's name should not be put into the newsroom contacts book, in case another reporter deals with the person badly and makes them decide not to talk to any reporter again.

Newsdesk diary

No newsroom can run properly without a proper newsdesk diary. Whether it is in a book form or a file on your newsroom computer, it can give a newspaper, radio or television station confidence that it knows what is going on in the society, and that it is reporting the things which matter.
The ideal traditional newsdesk diary is an A4 size (roughly 30cms x 20cms, or 12 inches x 8 inches) diary with one page or two pages per day. This should sit on the desk of the person who decides what each reporter will do each day. It may be the chief of staff, or the news editor, or the city desk, or the editor.
Whenever you hear about a future event, it should be written in on the relevant day of the newsdesk diary. Any announcement about a future event, which you report now, should also be put into the newsdesk diary under the day of the event.
Everything which is going to happen should be entered - sporting events, meetings, court hearings, sittings of Parliament, public holidays.
When you get a new diary at the beginning of each year, mark in the important anniversaries which will occur so that you can do feature articles or follow-up stories on the right day.
You can now plan ahead, keeping an eye on the next week or two so that events do not take you by surprise. Every day, you should know what is happening and be able to cover the most important events.

Style book

Every journalist is confronted with choices all the time about how to say things.
Should a newspaper use the formal titles - the People's Republic of China and the Republic of China - which the governments of those two countries prefer? Or should it use the informal titles - China and Taiwan - which many people are more familiar with?
Should a radio station stress the first syllable of controversy - CON-tra-ver-see - or the second - con-TROV-er-see?
These are questions of style. It is useful for a newspaper, radio or television station to have a consistent style, so that one story does not refer to "ROC" while another refers to "Taiwan".
Style books also need to deal with spelling (judgement or judgment?), punctuation (U.S.A.or USA?) and other similar matters.
Compiling a style book
It would be a huge job to write a style book, if your news organisation does not already have one. It is better to compile one bit by bit, adding each choice to the style book as you make it.
Your style book can be either in traditional book form or as files on a computer. The best hard copy type is a loose leaf binder - a hard-back folder with a spring clip inside for holding pages which have two holes punched in them. This binder should have 26 sheets of card, one for each letter of the alphabet. If it is also thumb-indexed, that is helpful.
Now, when you have to make a choice of style - let us say to choose between the spellingslabour and labor - you will look in the L section. If no style exists, ask the editor what he or she wants. If the editor favours Commonwealth spelling, the answer will be labour.
You can now write or type on a sheet of paper "labour (not labor)" and clip it into the L section in the style book. Any other reporter faced with the same choice in the future will be able to find this page and follow the style. The decision has been made, and the newspaper will be consistent.
Any style may be modified. Although in Commonwealth English labour is the spelling for the word associated with work, the Australian Labour Party spells its title without a ‘u’. Thus your style guide should note:
Labour (not labor)    
except in Australian Labor Party
Radio and television style books should also provide a guide to pronunciation. Although there are many different methods of writing words phonetically (how they sound), the simplest is to split the word into syllables, typed in lower-case letters, but with the stressed syllables in capital letters. So your style book may include:
SAA-moa  (not sa-MO-a)
tu-VA-lu  (not TU-va-LU)
As time goes by, you will find that you have a comprehensive and useful style book. Persuade all the journalists to look at it from time to time, so that everybody writes in the correct style.

Reference books

It is probably even more important for journalists to know where to find out facts than it is for them to know the facts themselves.
A lot of time is wasted with routine inquiries if reporters do not know which reference works are available and how to use them. Traditionally, a journalist’s main references books kept on newsroom shelves or in libraries. These are still important as quick and ready sources of information. But increasingly journalists are doing research on the Internet, which can be even quicker and more up-to-date.
First we will look at some traditional reference books, then we will look at resources available on the Internet and how to access them.
The following categories of reference book are useful in any newsroom.
Dictionaries
Every newsroom should contain at least one good dictionary in each working language. These can be used to check on meanings and spellings.
Which English language dictionary you choose will depend largely upon whether you use Commonwealth or American spelling.
For English spelling, the main choices are:
  • Concise Oxford English Dictionary (gives definitions of words as they were used in the past, as well as how they are used today).
  • Oxford Advanced Learner's Dictionary of Current English (written for second language users).
  • Longman Dictionary of Contemporary English (also written for second language users).
  • Collins English Dictionary (contains references to proper names as well as to words).
  • Readers Digest Great Illustrated Dictionary (a dictionary and small encyclopedia in two volumes).
  • The Macquarie Dictionary (for the Australasian region)
For American spelling, the main choices are:
  • Webster's Third New International Dictionary (very comprehensive).
  • Random House Dictionary of the English Language (includes a small atlas, brief guide to historical events, four foreign language dictionaries - French, Spanish German and Italian - and other sections).
There are also a number of specialised dictionaries which can be very useful. These can include dictionaries of science and technical terms, medical terms, parliamentary terms and sporting terms. Examples include:
  • Webster's Geographical Dictionary (excellent for the spelling and pronunciation of place names).
  • Butterworth's Medical Dictionary
  • Black's Agricultural Dictionary
  • Harraps Dictionary of Business & Finance
Encyclopedias
An encyclopedia is a book which gives an outline of information on a wide range of subjects - a little information on a lot of things.
The subjects are arranged in alphabetical order and most encyclopedias have an index, either at the end of each volume or as a separate volume.
Some of the most useful encyclopedias are:
  • Encyclopaedia Britannica (Macropaedia in 19 volumes and Micropaedia, ready reference and index, in ten volumes).
  • Encyclopaedia Americana.
  • Mitchell Beazley Joy of Knowledge Library (excellent colour illustrations).
  • Compton's Pictured Encyclopaedia and Fact Index.
  • Chambers's Encyclopaedia.
Many encyclopedias are now available online, which means they are usually more up-to-date, an important consideration with topical reference works. Most charge an annual fee for using them, though they might have a free trial period when you can see whether they will be worthwhile or not.
Wikipedia is a free web-based encyclopedia put together by contributors throughout the world. It is usually very up-to-date, in different languages and contains references to many things which are too insignificant for professionally-published encyclopedias to include. While the Wikipedia editors say there are systems in place to check entries for accuracy, there have been numerous examples of inaccurate or malicious entries going undetected for quite some time.
Our advice for journalists is to use Wikipedia as you would any other unchecked source - it is a good starting point and guide but you should check critical information yourself before publishing or broadcasting it as fact.
Telephone directories
The telephone directory is one of the most useful reference books in any newsroom. Journalists should not be allowed to take the newsroom telephone directory home, draw in it or tear bits out.
As well as telephone numbers, your telephone directory will usually give spellings of names and addresses, plus fax numbers.
It can also be useful to have a telephone directory for any neighbouring country with which you deal frequently. Internal telephone directories are useful acquisitions, too - for the government, a university, a large business or whatever. They can save you time and trouble going through switchboards, often giving you direct access to the person you seek.
Yearbooks
Many books of information are published every year, in order to keep up-to-date. The two main categories are yearbook and almanacs.
Yearbooks generally contain current information on a subject such as government, education, economics or a region. Examples include:
  • A Yearbook of the Commonwealth
  • Statesman's Yearbook
  • Pacific Islands Yearbook
Chambers of commerce also often produce a yearbook or annual business directory, with lots of useful names, contacts and information about business. Organisations like Rotary, Lions Club or Kiwanis may also produce yearbooks.
Almanacs generally contain a great deal of general information, such a populations, economics, world religions and a host of other things, kept up-to-date. They also contain important dates for the year in question. Popular almanacs are:
  • The World Almanac (USA)
  • Whitaker's Almanack (UK)
There is another book which is published each year, which is a fascinating reference book to have in any newsroom it is:
  • The Guinness Book of Records
It contains all known records in all areas of life, from the longest bridge in the world to the smallest ant in the world; from the loudest human voice to the biggest pizza.
All of these books have one thing in common - they get out-of-date very quickly. If you have an old yearbook or almanac in your office, take care in quoting from it. The information might not be true anymore. If there is an Online version, that should be more up-to-date but still check the date of the reference you wish to use.
Atlases and gazetteers
An atlas is a book of maps. A gazetteer is a book of place names. Both are extremely useful reference books to have in a newsroom.
It is useful to have a large map of your country displayed on the wall of the newsroom. Even so, you will need maps of other countries, and larger scale maps of your own country, such as town street maps, or planners' maps.
One of the best world atlases is:
  • The Times Atlas of the World
With more than 200,000 entries, this is a very comprehensive world atlas. You may also wish to have a more detailed atlas of your own region, such as:
  • Atlas of the South Pacific (NZ Government)
  • Atlas of Central America & the Caribbean, The Diagram Group (Macmillan, New York)
It is especially important for radio and television stations to know how to pronounce foreign place names. An excellent gazetteer is:
  • The Columbia Lippincott Gazetteer of the World
It has more than 130,000 entries, giving population, altitude and other details as well as pronunciation.
There are also specialist atlases, which could be useful. These include historical atlases, showing national boundaries as they used to be, and atlases with statistical information. Useful ones might be:
  • Atlas of the Third World, George Kurian, (Mansell, London)
  • Times Atlas of World History
Biography
Biographical reference books provide basic, factual information about important people, such as their date and place of birth, education, occupation, publications and other relevant information. There are two basic types of Who's Who - those divided by geography, such as Who's Who in Australia, and those divided by subject area, such as Who's Who in Education.
The following are also useful biographical reference works:
  • Macmillans Dictionary of Biography
  • The International Who's Who
  • Current Biography
  • Who's Who
  • Who's Who in America
  • International Who's Who in Music
  • Journalist Biographies Master Index
  • The Writers Directory
Quotations
Books of quotations can be useful for identifying a quotation, where it comes from and who originally said it, and checking that you have the wording exactly right; for suggesting quotations about a subject which you are dealing with; and for supplying good examples of the work of an author you are writing about.
Three of the best and most popular books of quotations are:
  • Oxford Dictionary of Quotations
  • Stevenson's Book of Quotations
  • Bartlett's Familiar Quotations

Specialist material

There may be some special subjects which are important in your country. What are the main industries, the main religions, the main forms of transport? Whatever is important in your country will feature in the news, so you should try to obtain relevant reference books;
The relevant government department or marketing board may be able to advise you which reference book to get on copper, or gold, or tin; on copra, or cardamom, or tea, or coffee; on timber, or rubber.
Your newsroom should have a copy of the important books of any main religion in your country. For Christianity, you should have the Bible - the New International Version is now a popular standard. For Islam, you should have the Koran, in translation for general use or in its original form for an Islamic readership. Other major world religions also have writings which are important to their followers. You should have a copy of whatever is appropriate for your society.
If air transport is important and you cannot get information Online, try to obtain a copy of the ABC World Airways Guide. This contains much information on world air travel in addition to the timetables. You may also like to get Jane's All The World's Aircraft, which gives full details of all aircraft in service. There are other Jane's titles for merchant ships and fighting ships.
Another useful shipping reference book is the Oxford Companion to Ships and the Sea. For railways, you may want a book like the Concise Encyclopedia of World Railway Locomotives(Hutchinson, London).
You may wish to contact newspapers, radio or television stations in other countries, to share story ideas or to cooperate in other ways. Useful reference books for these contacts are:
  • Benn's Press Directory: International
  • Radio and Television Handbook
Whatever your area of interest, there are likely to be useful reference books. Sports reporters may wish to have The Rules of the Game, by the Diagram Group, which describes and gives the rules of more than 400 events in 150 sports. Movie buffs will want Halliwell's Film Guide, (Granada, London), which has brief descriptions of hundreds of movies, old and new. There are even books like Type&!.,-:;?", which is a reference book for typographic artists.
Inquire at a library or bookshop for help in finding a good reference book in a specialist area which is important for you.

Reports

Copies of reports are often sent to newspapers, radio and television stations. Sometimes these get thrown away after a story has been written.
Don't throw them away. Keep them, neatly filed, for possible future reference. They won't take up much space, and could come in handy one day.

TO SUMMARISE:

Get a notebook, use it properly and keep it safe when it is full.
Get a contacts book and gradually fill it with useful names and phone numbers.
Use a newsdesk diary, to make sure events do not take you by surprise.
Develop a style book for your news organisation, and follow it consistently.
Get relevant reference books for your news organisation, and use them, to make your newspaper or bulletin accurate and authoritative.

Interviewing basics


Chapter 16: Interviewing basics

In this chapter we consider what interviews are, why they are important, and how to use them successfully.
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An interview is a special kind of conversation.  It is a conversation between a journalist and a person who has facts or opinions which are likely to be newsworthy.
News involves people. Whatever news story you are researching, there will be a person or some people who know what you need to know, or who have relevant opinions. They will usually be happy to tell you.
Your job is to find these people, and then ask them what you want to know. That is an interview.
Usually, you will hear about news first and find the details later. You may see something happening; you may hear about it during a social conversation; you may receive a press release telling you about it; you may receive a tip-off from a well-placed friend.
However you first hear about the news, the next step is to find out all the details so that you can write the story. The easiest way to do this is to interview the right people.

Speaking and listening

An interview is just a conversation, although it is a particular kind of conversation. As in any conversation, you and the person you are talking to will both be involved in speaking and in listening. Think, though, about which is more important to you - to speak or to listen?
Of course you will have to speak, to put your questions and explain what you want to know. But the purpose of the interview is to hear what the other person has to say. The most important part of the interview is for you to listen to what the person has to say, and to make sure that you understand what he or she is saying.
To make sure that you understand, it may be necessary to ask further questions to clarify what has already been said. For example, you might ask: "Did you say that the building would cost $725,000?" or "Did you mean that the members of the committee would all be sacked?" Don't interrupt, though. Let the person finish speaking first, and make notes of what you don't fully understand. You can ask questions for clarification when it is your turn to speak.

Making friends

Everybody talks more freely when they are relaxed and like the person they are talking to. If you want to get the best out of an interview, it is up to you to make sure that your interviewee (the person you are interviewing) feels this way.
For a start, you can try to arrange the interview in an informal setting - over a beer or a meal, in a club, under a tree. Otherwise, interview the person on his or her own territory - their office or home rather than the newspaper office. This will help them to feel at ease.
Then you have to gently take control of the situation, to guide the conversation where you want it to go. How you do this depends upon the person you are interviewing - an angry villager with a grievance which he is not expressing very clearly may need firm handling; a High Court judge will need very careful and polite handling.
Young journalists in developing countries often find it difficult to take control, especially if they are interviewing somebody with high social status. Women journalists, too, find it very difficult in some cultures to take control if they are interviewing a man.
You cannot disregard the cultural setting in which you live and work, but you should remember that you are striving to be a professional person. Controlling and guiding the interview, to get the relevant information without wasting time, is an important part of your professional skill.
It is a good idea to start any interview with friendly questions, even if they are not necessary for the story you wish to write. It will help you to make friends with the interviewee. You should always look and sound interested in the answers you receive, too. If the interviewee once feels that you are not listening, he will stop bothering to answer your questions.
Save your nasty questions until last. You may have to ask a trade union leader why he has called a strike without consulting his members, or a managing director why he has sacked 25 people and thrown them out of their homes.
If you think that the interviewee will not be happy with the question, make sure you have asked everything else first. Then you can ask the difficult question - if he gets angry and tells you to leave, you have lost nothing; if he gives you an answer, you have a good story.

Visualising

One of the most important skills in interviewing is the skill of visualising.
As the person you are interviewing gives you more pieces of information, you need to add them to the picture you have in your mind.
Can you now visualise the whole story? Could you answer any question about this story if it was put to you - Who? What? Where? When? and especially Why? and How?
If there are any gaps in your understanding, this does not mean that you are at fault - it means that you lack information. Your next question should be to fill in this gap.
Some journalists write down all their questions before they begin an interview. This is not a good idea. You may write down a few very important questions in advance; but the next question you ask each time will depend on the answer you received to the question before.
Visualise the whole story throughout the interview. Be aware of the gaps in your picture. Ask the questions which will give you the information to fill those gaps.
visualisingSometimes your interviewee will speak in reply to your question, but not answer it. This may be accidental, if they did not understand your question or lost their train of thought; or it may be deliberate, if they do not want to answer the question, but do not want to say so.
Either way, if you ever ask a question and do not receive an answer, you should ask the question again. This does not have to be rude. You may say:
"Thank you, Minister, but I'm not sure that I heard the answer to my question. I was asking you whether you agree with the World Bank recommendations."
The object is to be polite but persistent. If the interviewee does not want to answer a question, make them say so. You can then thank them, move on to the next question ... and include in your story that they declined to answer this question.

Evaluating

As well as listening and understanding what you hear, you will need to think while you are listening. Ask yourself what is the significance of what you are hearing? Is it a big news story or a small one? Is it news at all? What will be the effect of what you are hearing on people's lives?
In this way you can evaluate what is being said. When you have a picture in your mind of what the news story means, you will know the sort of question to ask next.

Recording

However good you may think your memory is, you must keep a record of what you are told. An hour later, after a lot more talk and a journey back to the office and a chat with the chief of staff on your way to your desk, your memory of what was actually said will be unclear.
Tape recorder
You may record an interview with a tape recorder. If you are working for radio, you will need to do so, but even some newspaper and magazine reporters work this way. The advantage is that you record the interview accurately, without having to worry about note-taking, and can concentrate on what the person is saying. The disadvantage is that, after the interview, you may have to play the whole tape through again, sorting out what you want to use and what you don't want. This takes a lot of time.
If you are recording an interview with a tape recorder, you will need to follow a few simple rules:
  • Know your tape recorder and what all the switches do. Practise with it in the office, until you are familiar with it.
  • Check that the battery is fully charged before you leave the office. The best thing is always to put the battery in the charger whenever you finish a job, so that it will be ready for the next job.
  • Take a spare clean tape with you. Keep an eye on the tape recorder during the interview, so that you can change the tape before it reaches the end.
  • Put the microphone in a good position to record, and the tape recorder conveniently beside you. Check before you begin the interview that it is working and that the sound levels are right.
  • Set the counter to zero at the start of the interview.
Notebook
The alternative is to make notes in a notebook. This can best be done by using shorthand, so that you note the speaker's exact words while he or she is speaking them. You can then use them as a quote later, if you wish.
The advantage of such notes is that you do not bother to take a note of stuff which is boring or irrelevant, and which you know you will not use. Notes are selective and save time later.
For newspaper journalists, this is the best method. However, you will need shorthand of at least 80 words per minute, and preferably 100 words per minute, if you are to use this method effectively.
For court reporting, this is often the only method of recording which is allowed.
Combination
Journalists who do not have good shorthand, or who work in a language for which there is no good shorthand system, can use a combination of the previous two systems.
You take a tape recorder to record the whole interview, but you also make notes in a notebook.
There is no need to write down the speaker's words - they will be on tape - but you can note when he says something interesting. By noting the number on the tape counter, you will be able to find quickly the bits you want when you return to the office.
So, you may write in your notebook:
Rice project 026
Good quote 041
Cash figures 063
Quote 074
Copra drying 093
Quote 124
V. good quote 138
When you return to the office, you will be able to ignore most of the tape, and fast forward to the bits you want. Rewind the tape and reset the counter to zero. Now, when the tape counter shows 026, you will find the start of the discussion of the rice project; at 041 there is a good quote; and so on.
This has a very important advantage, that you can quote accurately what people say. This method is slower and more cumbersome than just using a notebook; but it is a very good compromise for journalists who do not have shorthand.

The interview formula

Every interview is different, depending on the person you are interviewing and what you are talking about. All the same, there is a formula which you can apply to every interview, which will help you to get the best out of it.
Preparation
Before any interview, you need to do some preparation. Talk to your colleagues and find out whatever they know about your interviewee and the background to the story. Get the cuttings out of the library and read what has been published before.
Check on the sort of story that is wanted - is it a hard news story, a background story, or a personality profile? Then make a list of the things which you need to know, so that you can ask the right questions.
Finally, make yourself look neat and tidy. Whether you dress formally or informally depends upon who you are going to interview, but you should always look clean and you should never look scruffy.
Politeness
Nobody is obliged to be interviewed by a journalist, so be grateful and be polite. At the start of every interview, introduce yourself in a clear confident voice - "Good afternoon, Mr Wingti, I'm Joe Vagi of the Niugini Courier. Thank you for agreeing to see me."
Don't be in too much of a hurry to get down to business. Take a minute or two for appropriate small talk. You might ask about his health and his family and how he is settling into his job; this will indicate that you care about him as an individual and will help to establish a rapport. Don't overdo it, though. Remember that he may be a busy man and have better things to do than discuss his family with a total stranger!
It will be a matter for your judgment on each occasion how much of this small talk is appropriate.
Open questions
It may be that you know most of the details of a story, and only need two or three details from an interview. In that case you can get straight to the point. More usually, however, you will have only a sketchy idea of the story. In this case, the ideal first question is something like: "What actually happened?" or "Could you tell me about..?" This will give you the broad outlines of the story.
Avoid asking questions with a yes/no answer especially if you want a recorded interview for radio; it makes very dull listening to hear long questions from the journalist and one-word answers from the interviewee. Ask questions which invite details, not agreement or disagreement. Remember, you want to spend most of your time listening, not speaking.
Visualise
Once you have the broad outlines of the story, try to build up a picture in your mind of what happened. If there is any part of the picture which is not clear, ask for clarification. You will want to know Who? What? Where? When? Why? and How?
You must start with the most important areas of the story and gradually fill in the less important detail, because the interview might be brought to an end at any moment.
Don't forget to ask about the past and the future, too - what led up to the story, and what will happen as a result. Try not to interrupt.
Recap
To "recap" is short for "recapitulate". This means to go back over your notes before you let the interview end. Read them through, see if they make sense and check that no details you need are missing. Don't do all this in silence, though, or your interviewee will think you have finished. Keep talking, while most of your mind is on your notes. When you come across names, check the spelling; when there are figures, check that you have them right.
Finally, tell your interviewee what you understand the story to be. This will take time, as you tell back to the interviewee in an orderly form all that he has told you in bits and pieces. If you have got it wrong in any respect, you may be sure that he will stop you and put it right.
The final question
We are all human and fallible, so you may forget to ask something important in an interview. Or there may be something which you could not know about, which will make a good story.
For these reasons, when you have asked everything that you think you need to know, there is one more question to ask: "Is there anything else I should know?"
Before you go
You may find that you get back to your desk after an interview, start to write the story and then realise that you did not ask an important question. You then have to telephone your interviewee and put the question.
Before you leave the interview, therefore, check that you have their phone number and check that they will be available on that phone number for the next hour or two, "in case there are any other questions". If the interviewee is about to go out, try to get a number where you can contact them - most places around town have phones.
Leave your business card, if you have one, or otherwise a written note of your name, company and phone number, so that the interviewee can phone you if a thought occurs to them after you have gone.
If you think the story needs a photograph, check whether the interviewee will be available to have a picture taken, and if so when would be convenient.
Finally, say "thank you", shake the interviewee's hand (or whatever is usual in your culture) and part as friends - you may well need another interview from the same person at some future date.

TO SUMMARISE:

Work out a method of recording interviews which is best for you - tape recorder, notebook or a combination of the two.
In every interview:
  • Listen more than you speak. Control the interview gently, but don't interrupt.
  • Be polite but persistent.
  • Ask open-ended questions; especially avoid questions with "yes/no" answers.
  • Visualise the story as it is revealed to you.
  • Evaluate the news story as it is revealed to you.
  • At the end of the interview, recap what you understand the story to be.

Telephone interviews


Chapter 17: Telephone interviews

In the previous chapter on the basics of interviewing we looked at why interviews are important to journalists, how to plan and prepare for them and how to conduct them. In this chapter we focus in on telephone interviews, their advantages but also traps to be wary of.
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Used properly, the telephone can be your best friend. It is especially useful for talking to people who are too far away for you to visit.

Basic rules for the telephone

Try to use the bright friendly manner, which you use for face-to-face interviews, for the telephone as well. You will inspire confidence in the person you are calling, and get your story much more quickly.
Don't be too hard on secretaries who are protecting the important people you are trying to contact. They are only doing their job. If they have been told by their boss to protect him from you, then you will not get anywhere by being angry. In that situation, the telephone is unlikely to succeed and you should visit in person.
Remember that when you telephone someone at home, at night or during the weekend, you are intruding into their private family life. You should not do so unless the story demands it. Even if it does, you should apologise for having to interrupt them and state your business quickly.
Because a journalist uses the phone so often, it is important that you should know the standard rules of telephone politeness for the profession.
Ringing out
The people you phone for news are often busy people doing important work. They protect themselves from trivia by employing secretaries to answer the phone for them, and to separate the unimportant or minor calls from those which require their personal attention.
So when you phone the Police Commissioner, you will probably first get the switchboard at police headquarters. You will ask for the Commissioner's office. There, his secretary will answer the phone. You must give her your name, the name of the organisation you work for and the nature of your inquiry.
For example, you may say: "This is Joe Vagi, of the Niugini Courier. May I speak to the Commissioner about his trip to Australia, please?"
She will ask you to hold on, while she speaks to the Commissioner to tell him that you are on the line, who you are and what you want. He will then decide whether to take the call, or to refer it to somebody else - his deputy, or the public relations department, for example.
If he agrees to talk to you, you will hear him come on the line. You must then repeat your name, your organisation and what you want. Do so quickly and efficiently. Don't waste time mumbling and thinking about exactly what it is you want to say. If you sound confused and unsure of what you want, you will probably get nothing. You will also give your newspaper or radio station a bad reputation.
The conversation should go something like this:
Commissioner: Yes?
You
: Good afternoon, Mr Geno. This is Joe Vagi from the Niugini Courier. I wanted to ask you about your recent trip to Australia and whether it had been a success.
Commissioner
: Certainly, ... etc
It is important to tell people who you phone, as soon as they come on the line, that you are a journalist and who you work for, so the person knows that what he says may later appear in print or on a radio bulletin. In everyday journalism it is unethical to try to get news by pretending you are not a journalist, or even by not telling people that you are a journalist at all. (In Chapters 39 to 41 on Investigative Reporting we discuss the rare occasions when it is permissible to hide your true identity as a journalist.)
Answering the phone
When the phone rings in the newsroom and you pick it up, you should say "Newsroom" and then give your name - for example: "Newsroom, Joe Vagi speaking." It is not enough to say "Hello?", as this forces the other person to waste time by asking if they are connected to the newsroom and who they are speaking to.
If the caller wants to speak to a reporter who is not in the newsroom, then you should say: "She is not in the office at the moment. I'll just find out where she is." Ask the chief of staff, or whoever else is around, where the person is. If she will be back in a minute or two, you may suggest that the caller waits; if she is out for a while, you must tell the caller so. You should then say: "Can I help you? Or can I take a message?"
The caller can now choose. If they think you can help, they can talk to you instead of the person they wanted. If they think you cannot help, at least they can leave a message with you. The message should contain:
  • The caller's name and telephone number
  • The date and time they called
  • What they wanted
  • Whether they will call back later, or whether they want to be called back
  • Your own name
It should be clearly written, or better still typed, and left where the person will find it. The most usual place for messages to be left for reporters is on their keyboard. If you have an internal office email system, you can send them an email with the information.

Using the telephone effectively

It is possible to interrupt people at inconvenient times when you use a telephone. You must use the phone efficiently, so that you use as little as possible of your interviewee's time. Think before you make the call exactly what information you need from this person. If you ask for information which you could easily have found elsewhere, then a busy person will get cross with you - and rightly so.
Timing
The timing of a telephone call is important. If your deadlines allow, try not to phone too early or too late in the day.
People are not at their best within one hour of starting their day's work, and within half an hour of lunch they will not want to be bothered. People are very often late back from lunch, and again do not want to get a call within half an hour of the end of their day's work.
If you can call at the best times in between - mid-morning or mid-afternoon - you are more likely to be helped.
If you want to phone someone at home, do so as early in the evening as possible - people do not like having to get out of bed to answer the phone.
Ask for someone by name
Whenever possible, find out the name of the person who can help you. The receptionist - if approached politely - might help you. You might ask her: "What is the name of the person in charge of property, please?" Or you can pretend to know the name, but have forgotten it: "Can I please speak to ... oh, what's his name? The person in charge of property? Mr...?" "Mr Hussein?" "That's it! Mr Hussein."
Having a name to ask for can save you from being transferred from one person to another ... and ending up after half an hour back with the person you first spoke to.
Start at the top
Try to talk to the boss - he is often more willing to talk to the press than more junior people are. He knows the answers and he usually understands the importance of journalists getting a story about his company or department right.
Even if he does not have time to speak to you, it can be useful to make that contact first. For example, if you have called Mr Hussein, the managing director, and he refers you to somebody else in his company, then you can say to that person quite honestly: "I was just speaking to Mr Hussein and he said I should speak to you." He cannot now refuse, if his boss says he must speak to you.
Listen carefully
When we interview someone face-to-face, we can see from the look on their face, or the gestures which they use, whether they are serious about what they are saying, or whether they are being funny, or sarcastic. When you use the telephone, you have only their voice to get this information - and it can alter the meaning of what they are saying.
Feed back what they say, to make sure you have understood it properly in the way they meant it. For example, you may say: "So the Foreign Minister called you `an imperialist lackey', did he?" If the reply comes back: "No, no, not really; I was just joking!", then you can apologise and you have avoided an embarrassing misunderstanding. But if the reply is "Yes, that's just what he said", then you may have a very big news story.
Smile
A smile shows in your voice. If the person at the other end of the telephone line can sense that you are smiling, that you are polite and positive, you will get a much better response.
Avoid pauses
In a face-to-face interview a short pause can sometimes help by making the interviewee feel he must continue speaking. In a telephone interview it does not help.
If there is silence, then the person on the other end of the line seems to have disappeared. Your interviewee may well think that the interview is over, and hang up. Keep the conversation flowing, even when half your mind is reading back over your notes of what has already been said.
It is helpful, too, to remind the interviewee from time to time that you are there and that you are listening. While he is speaking, you may say "oh yes" or "really?" or even grunt one of those little noises that shows you are listening and interested. This does notapply, however, if you are recording an interview for radio - the reporter's grunts will become very annoying to the listener when the interview is broadcast.
Thanks
Thank the interviewee. Check that you can call back if you need more information. If it is appropriate, ask if a photograph can be taken. Politely say goodbye.

Telephone problems

Using a telephone has many advantages, but it also has its problems. These include the impersonal and inhuman nature of the telephone, the difficulty of knowing the situation you are phoning into, and the problem of clarity.
Impersonal
Telephones are most effective when you call somebody you already know. If you can visualise the person at the other end of the line, you can talk more easily to them.
Try not to use the telephone to interview somebody you do not know. Do not be lazy, and use the telephone just because you cannot be bothered to walk 100 metres.
The telephone is always second-best to a face-to-face interview, because it is impersonal.
Unknown situation
When you phone a busy person, you will almost certainly interrupt them from doing something. Busy people do not sit around doing nothing, waiting for the phone to ring.
It is difficult to know the situation you are going into. Is your interviewee angry or frustrated, worried, miserable or happy?
It is a good idea to start a telephone interview by asking: "Is this a convenient moment to ask you a couple of questions?"
Lack of clarity
Telephone lines are not always as clear as we would wish. A poor quality line can make communication difficult.
Also, a strange accent is even harder to understand on the telephone than it is face-to-face, especially when one or both of you is working in a second language.
Remember that it is as hard for your interviewee to understand you as it is for you to understand your interviewee. Make it as easy as possible by speaking loudly, slowly and clearly, with the telephone mouthpiece in front of your mouth and not under your chin.

TO SUMMARISE:

Remember that a face-to-face interview is always better than a telephone interview.
When you must use the telephone, use it properly.
Be clear and polite to everyone on the telephone, however annoying they might be.
Record your interview properly and check you have all the information you need.

Media releases


Chapter 18: Media releases

Here we look at media releases and how journalists can get the best out of them.
______________________________________________
One of the main sources of news for journalists is the media release (sometimes called thepress release). This is often a news story or feature, written by a press officer or information officer and sent to each newspaper and broadcasting station.
It is easy to understand why media releases are so important. Each newsroom may have only a few reporters to find out what is going on in the country. There is a limit to how much news these few people can find.
At the same time, there may be a great many press officers, information officers and even marketing staff employed by government departments, by statutory bodies, by universities, by large commercial firms and by many others. If all these people are prepared to tell reporters what is going on in their organisations, it helps the flow of information.
Some journalists, however, believe that media releases should take all the work away from them; they treat media releases as if they were finished stories, ready to be published in the paper or read out over the air.
They are very wrong to believe that. You should never use a media release in the form you receive it, without a great deal of thought and work. Let us consider why not.

Who wrote it and why?

Press officers, who write media releases, are employed by organisations to project a good image - to make sure that good news about them gets told and that bad news about them is kept to a minimum. There is nothing wrong with that, and it does mean that a lot of good news, which might otherwise never get published at all, finds its way to the readers and listeners.
All the same, it does mean that the reason why they wrote the media release was to promote the good image of their employer. Do not imagine that it was written because they were anxious about you having enough stories to fill tonight's bulletin or tomorrow's paper. While the media release should still be truthful, it may not contain the whole truth - it will probably contain a careful selection of facts to show the organisation in the best possible light.press officerThe essential difference between the press officer and the reporter is that, while the press officer represents the interests of his or her employer, the reporter represents the interests of the readers or listeners. Remember that and make sure that the story which you put through to your chief of staff contains answers to the questions which your readers or listeners want answered, not just the things the press officer wants to tell them.
Bear in mind, too, that the clever press officer will send a media release when there is usually not much other news around - on a Sunday, for example, to make it more likely that you will use it in the Sunday evening bulletin or the Monday morning newspaper. Take special care at these times to do a proper assessment of the news value of the media release.

How to handle a media release

Read and visualise
It is not enough to read the first sentence of a media release before deciding whether to use it. You need to read it all and visualise the story. This is the most important skill of journalism, to visualise what happened, when, where, why and how and who was involved. You must do it when you read a media release as much as you do while you are interviewing somebody.
Is it news?
Just because a press officer has sent out a media release, it does not mean that there is a real news story there. They may be trying to impress their employers with how much work they do; they may be trying to get free publicity; they may be so close to their organisation that things seem important to them which are of little or no interest to the rest of society.
Treat the media release in the same way as any other source of news - ask yourself whether the information it contains is new, unusual, interesting, significant, and whether it is about people. If the answer is no, then throw it away.
Does it have the right news angle?
There may be a better news story buried late in the media release than the one in the intro; the press officer's job is to promote his employer, not to pick what is objectively most newsworthy. That is your job, so do it.
What information is missing?
If there are gaps in the story as you try to visualise it, it means that information is missing. If you decide to use the story, you will need to fill in these gaps.
Contact for further information
Good media releases should contain a name and phone number of who to contact for more information - usually the press officer who wrote it. If there are gaps in the story, phone them and put the questions.
If you do not get answers, try someone else in the organisation. While you are talking to them, tell them that the press officer could not help - you will find that they will co-operate better with you next time, to avoid people hearing that they are not doing their job properly.
Write the story from all available information
Only when you have done all these things can you write the story, from the material in the media release and from your notes of your telephone or personal interviews.
All this takes more time than simply publishing a media release as you receive it, but it is time well spent. It will make your newspaper, radio or television station one which the readers or listeners know they can trust, rather than one which just repeats other people's propaganda.
Do not be rushed into publishing a media release before you have assessed it. If it arrives just before your deadline, it may be better to hold it for the next issue of the newspaper or the next bulletin than to use it at once. All the same, you should assess it as quickly as possible, so that it does not lie around the newsroom growing old, while the public would be interested to know what it contains.

Be confident

A media release is not sacred. It is just one source of news (and an imperfect one), so do not be in awe of it.
The man or woman who wrote it is probably not a better journalist than you are, so have the self-confidence to question their news judgment and to reject it if you disagree. However, do not reject the facts contained in a media release just because you don't like them; if you are in doubt, check them.
You will find, though, that some media releases will need no rewriting. There are some very good, experienced journalists working as press officers. After you have read, visualised and assessed a media release, you may decide that you cannot improve upon it - in that case, don't waste your time. Leave it as it is, give it back to your chief of staff and tell him that it can be used as it is.

TO SUMMARISE:

Treat a media release like any source of news. Check to see if it contains anything which is
  • new
  • unusual
  • interesting or significant
  • about people
Gather any other information you need to write a complete story.