Associated Press Reporting Handbook

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Associated PressReporting Handbook

• Profiles
• Chapter 6

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An Elderly Woman and the Confounding Gift of
SightA Story by Helen ONeill

• Relationship is the name of the game. Listening
  is the most important thing you can do.
• Most people just want someone to listen.
• Reporting begins and ends with listening.
• Writing is a constant process of listening.
• Listening to Eva Suggs was not easy.

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Wearing Purple

• How did Evas desire for a purple world grab
  you?
• Although there are only about a dozen quotes from
  Eva, do you feel ONeill captured enough of her
  personality in this story?
• Can you sense the anguish Eva feels now that the
  world expects more from her? She can see now, but
  she had been blind from birth.

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• Coming late in life, Evas gift from God
  (eyesight) seems to have an ironic side. How does
  ONeill handle this?
• From Evas situation do you feel mostly despair
  or hope?
• Did the God conversation between Eva and her
  friend remind you of anything?
• What does Beautys presence tell us?

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Getting the Story

• Is it Eva Suggs unique situation, or universal
  situation, that makes her a story?
• Does her story tell us anything about the Garden
  of Eden?
• During the first phone call, ONeill was
  discouraged. Theres all this stuff in there
  ... What does she mean?
• What was ONeills challenge?

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• What was ONeills approach to learning what its
  like to be blind?
• What is the difference between writing with
  sympathy and with empathy?
• Why was it not necessary to quote Brunson in
  the story?
• How is she part of the story, anyway?
• Where does Tony Talbot fit in?

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• ONeill spent a great deal of time with Eva, but
  she also spent time with her granddaughter
  Michelle. Whats up with that?
• What is the word ONeill uses in place of
  interview?
• What about her list of questions?
• While establishing trust, what is one thing she
  suggests?

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• And, what about note taking?
• When does the writing get done?
• She shows a great deal of concern for her
  subjects -- how theyre depicted.
• What evident good did ONeills work accomplish
  for Eva Suggs family?
• What do you think is meant by archeological
  effort put forth by ONeill?

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Associated Press Reporting Handbook

• The Art of the Sit-Down Interview
• Chapter 7

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Jane Fonda Talks, and Talks Some MoreBy HILLEL
ITALIE

• How does the lead of the story fit the image of
  Jane Fondas lifestyle that emerges in the story?
• Is the description of Fonda adequate?
• By the time I turned the first page, I was
  already exhausted from all the workouts.
• What does Jane feel exercise helps her do?

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• How did Fonda feel about getting into character
  for a film?
• So, wheres her heart today?
• What are some of the aspects of Fondas
  personality that come out in how the story is
  written?
• What inspired her to continue doing workout tapes?

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• Why do men, according to Fonda, avoid workout
  tapes?
• What type of feminist view do you get of Fonda?
• How does the writing help give you that view?
• Does Ted do videos?

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The Interview

• Hillel Italie did not have days to shadow Fonda
  for an in-depth story. He had just an hour.
• How did this affect his story?
• These quick interviews can produce shallow
  writing.
• What does Italie do to make his more in-depth?

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• Ive known many famous people, but they didnt
  know me.
• If you go there wanting to be their friend,
  youre in trouble.
• Were Italie and Fonda strangers?
• He wasnt supposed to ask questions about
  politics or movies. How did he get all that
  information?

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• You dont save your toughest question for last,
  you save it for the right moment.
• Theres no real list of questions.
• Public people lie about private lives constantly.
  
• The closer you get to their work, the more likely
  they are to tell the truth.
• There are no bad interview subjects.

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• Most subjects pegged as bad interviews, are just
  people who wont put up with stupid questions.
• Research is half your job as an interviewer.
• Ask your questions.
• Listen.
• Be fair, helpful and honest.

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• THE END