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Strategies of Narrative Journalism Journalism 243 Spring 2020

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Strategies of Narrative Journalism Journalism 243 Spring 2020 Longform workshop/Spring 2020/p.1 The Long Piece: Strategies of Narrative Journalism Journalism 243 Spring 2020 Michael Pollan [email protected] (510) 525-5131 (office) (510) 501-5217 (cell) Class time: Tuesday 2-5, Lower Newsroom Office hours: Mondays 3-5, by appointment, 134 Northgate Hall The focus of the course will be on making the transition from writing short pieces for news outlets to writing narratives for magazines and books. What’s the difference between a subject and a story? How do you find the narrative line in a mass of information? How do you structure that narrative? When is the first-person appropriate? What is the role of the editor and publication in shaping your story? The arc of the course will trace the process of writing a single narrative piece: finding and pitching story ideas; reporting in depth and at length; outlining and structuring your story; choosing a narrative voice and strategy; crafting leads and “overtures;” and making transitions between your story and its larger contexts. As a group, we’ll also work as editors on one another’s ideas and drafts. And since reading good prose is the best way to learn to write it, we’ll closely read a substantial piece of narrative journalism each week. Students will be expected to complete two drafts of a 4-5,000-word piece by the end of the term. Required Reading Strunk and White, The Elements of Style James Stewart, Follow the Story Tracy Kidder & Richard Todd, Good Prose: The Art of Nonfiction (Please purchase these books) Class One — Introduction January 21, 2020 In class: Goals of the class; expectations and procedures. Introductory interviewing exercise. Why long form journalism? Setting sights realistically—and locally. Ideas and pitches: the hunt begins. Starting a story file. Student introductions. Assignment for next class: Write a brief profile of your interviewee. Bring 12 copies to next class. Longform workshop/Spring 2020/p.2 Class Two — The Reader Over Your Shoulder January 28, 2020 Readings: “Politics and the English Language” by George Orwell The Elements of Style by Strunk and White “The Problem of Style” in Good Prose (Ch. 5) Close reading: Rachel Aviv “The Trauma of Facing Deportation” https://www.newyorker.com/magazine/2017/04/03/the-trauma-of-facing-deportation In class: Clichés and shopworn prose in journalism and how to transcend it. Newspaper vs. magazine writing: lede, voice, structure, conceit. Template. Sign up for article presentations. Assign student editing pairs. Assignments for next class: Bring three potential story ideas, at least one from the newspaper, others from websites, specialized publications, sources, friends etc. At least one story idea should be one you are uniquely well situated or qualified to write. Sign up for Student Article Presentations (SAP) Class Three — Finding the Story February 4, 2020 Readings: Follow the Story by James Stewart (Intro, chapters 1-3) Sample pitches from NYT Magazine and The New Yorker How writers read the newspaper and web (w/questions) In class: What makes a good magazine story? Story ideas presented and discussed. How to interrogate a story idea: the story catechism. Assignment for next class: Draft a brief query for each of your two best idea and email to the class list-serve for workshopping in next class. Due February 9 Class Four -- The Art of the Pitch February 11, 2020 Readings: Student queries Topic vs. story: Tailoring pitches to particular magazine/audience. MP’s Psychedelic Science pitch In class: First student article presentation. (Hereafter SAP) Assignment for next class: Report and rewrite your best pitch, or draft a new one, for Class Five. DUE Feb 16. Send to list-serve. Longform workshop/Spring 2020/p.3 Class Five — Story Development February 18, 2020 Readings: NYT Magazine queries, memos, correspondence between reporter and editor. In class: Editing pairs assigned; meet with your editor/writer. Practice pitching Reporting the pitch. SAP Class Six-- Reporting the Long Story February 25, 2020 Readings: Stewart (Chapter 4) Pollan research files (Psychedelic science, cattle industry) In class: Guest editor: Clara Jeffrey, editor, Mother Jones Gathering information (global and local); sources and resources; reading and interviewing techniques; organizing your story file (show MP article files on laptop). Moral/emotional dilemmas of immersion reporting: reporter/source relationships. SAP Assignment for next class: Reporting progress memo due in class next week, March 3 Class Seven— The Outline: Structuring the Story March 3, 2020 Readings: “Power Steer” by Michael Pollan In class: REPORTING PROGRESS MEMO DUE IN CLASS Guest writer: Mary Roach Parts and wholes; moments and scenes. Finding the path through the field of material. Discussion of structuring process of “Power Steer.” The importance, and freedom, of a narrative laundry line. In Medias Res: the inverted “e” structure and others variations on chronology. In-class writing assignment on physical description (take notes on our guest). SAP Assignment for next class: Bring example of a first-person lede; write a brief character sketch of the narrator: who is this person? Super Tuesday: VOTE!!! Longform workshop/Spring 2020/p.4 Class Eight — Beginnings: Leads and Overture March 10, 2020 Readings: Stewart: “Leads” (Chapter Five) Kidder & Todd, “Beginnings” in Good Prose Pollan and other leads and overtures “Playing God in the Garden” by Pollan In class: When and where to begin. Teasing themes. “Nut” graphs, “Overtures” and the “Promise.” Discuss classic leads from different magazines. SAP Assignments for next class: Scheduling memos for student articles, workshop outlines, progress reports. REMINDER: OUTLINES DUE to me and your editor the Sunday before Spring break (March 22). LEADS and OVERTURES DUE to list-serv the Sunday after spring break (March 29). Class Nine — Point of View and Voice March 17, 2020 Readings: Stewart Chapter 6, “Transitions” Mary Roach “Chimps with Spears” http://ngm.nationalgeographic.com/2008/04/chimps-with-spears/mary-roach-text http://niemanstoryboard.org/stories/annotation-tuesday-mary-roach-and-almost-human/ http://www.smithsonianmag.com/travel/the-gut-wrenching-science-behind-the-worlds-hottest- peppers-73108111/?no-ist In class: First and third person; varieties of the literary “I” SAP SPRING BREAK—NO CLASS MARCH 24. Reminder: OUTLINES DUE to me and your editor the Sunday before Spring break (March 22). LEADS and OVERTURES DUE to list-serv the Sunday after spring break (March 29). SAP Class Ten -- Narrative Tools: Description, Transition, Humor, Anecdote March 31, 2020 Readings: Stewart, 8-11 In class: Guest writer: Jon Mooallem (’06) Workshop overtures in class In-Class writing assignment (write and read) SAP Longform workshop/Spring 2020/p.5 Reminder: DRAFTS DUE TO YOUR EDITOR April 3 DRAFTS DUE TO POLLAN (with editorial cover note) April 5 Class Eleven-- The Art of the Ending April 7, 2020 Readings: Finish Stewart Reread ending of “Psychedelic Science,” “Power Steer,” others In class: Workshop overtures, cont’d. Discussion of exemplary endings/kickers SAP Class Twelve-- Strategies of Revision April 14, 2020 Readings: George Saunders, “What writers really do when they write” https://www.theguardian.com/books/2017/mar/04/what-writers-really-do-when- they-write In class: How to sneak up on your own work and see it as an editor Workshop selected section drafts SAP Class Thirteen-- Getting Published, Working with Editors April 21, 2020 Readings: Robert Gottlieb interview (Paris Review) Kidder & Todd, “Being Edited and Editing” in Good Prose In class: Fitting the story to the magazine; working with editors; magazine formulae and voice(s); making a living as a freelance writer Workshop selected drafts SAP NO CLASS APRIL 28th FINAL DRAFT DUE MAY 3 Class Fourteen—The Writing Life May 5, 2020 Longform workshop/Spring 2020/p.6 Readings: “Proust wasn’t a Neuroscientist. Neither was Jonah Lehrer, http://nymag.com/news/features/jonah-lehrer-2012-11/ Listen to: At least one episode of the podcast “Longform” and come prepared to discuss it. In class: Workshop drafts as necessary Life and work strategies for the freelance writer Opportunities and perils From articles to books, queries to book proposals SAP Overview of due dates: February 4 (bring to class): Bring three potential story ideas, at least one from the newspaper, others from websites, specialized publications, sources, friends etc. At least one story idea should be one you are uniquely well situated or qualified to write. February 9: Draft a brief query for each of your two best idea and email to the class list- serve for workshopping in next class February 16: Report and rewrite your best pitch, or draft a new one. Send to list-serve. March 3: Reporting progress memo due in class March 10: Due in class: Bring example of first person lead; write character sketch of the narrator: who is this person? March 17: Due in class: Scheduling memos for student articles, workshop outlines, progress reports. March 22: Outlines due to Michael and your editor March 29: Leads and overtures due. Send to list-serv. April 3: Drafts due to your editor April 5: Drafts due to Pollan (with editorial cover note) May 3: Final draft due Expectations: Each student will complete two drafts of a substantial piece of narrative journalism, ideally a local story of national interest. Students may apply to the Knight Program for travel grants to report their stories if they meet Program criteria. Longform workshop/Spring 2020/p.7 Intermediate deadlines –for pitches, outlines, reporting memos and overtures-- are as important as final deadlines. Students will be paired for editing purposes, and you will be evaluated on your editing as well as your writing and class participation. Punctuality is essential in journalism, and will be weighed in your evaluation. No absences or late arrivals without prior permission, except in an emergency.
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