But, obviously, that is not the logical way to tell the story. The finished account should be written in the order in which it happened: i.e., first the robbery, then the pursuit, and lastly the arrest. This would be the ideal way to tell the story--according to the rules of English composition--if we could be sure that the entire story would be printed. But if it were written in this way and the editor decided to slash off the last paragraph, what would go? Obviously the arrest would not be printed; and the arrest was quite interesting. We must find some way to bring the arrest nearer to the beginning. This may be done by selecting the most interesting parts of the story--by picking out the high spots, as it were. In this story the high spots are the attempted robbery, the pursuit, and the arrest. The details that fill in between are interesting, but not so interesting as these high spots. Hence these high spots of interest must be pushed forward toward the beginning.

After the lead the story would begin at the beginning and tell the affair briefly by high spots in their proper order. It might be something like this:

As Charles Young was closing his

grocery last evening a young man came in

and asked for a pound of b.u.t.ter. Young

turned to get it and his customer struck

him over the head with a chair. The

grocer grappled with his a.s.sailant and

they fell through the front door. In the

scramble, the robber broke away and ran

down Sixth street. A young woman who was

pa.s.sing screamed and ran after him until

he disappeared into a saloon.

The young woman called Policeman Smith,

who was standing nearby on Grand avenue,

and the latter found the would-be robber

on the roof of the saloon. After a

struggle, Smith arrested the man, with

the aid of another policeman.

The above account tells us briefly the most interesting parts of the story. A copyreader might not find it perfect, for the a.s.sault is allotted too much s.p.a.ce and the pursuit too little, but it tells the story in its baldest aspect. This, with the lead, could be run alone.

However, perhaps the story is worth more s.p.a.ce; at any rate, many interesting details have been omitted. If so, go back to the most interesting part of the story--the a.s.sault, perhaps, or the pursuit--and tell it with more details. Then retell some other part with more details. If your readers are interested enough to read beyond the first three paragraphs they want details and will not be so particular about the order--for they already know how the story is going to end.

This is one way of meeting the requirements of logical order and dwindling interest. This is a particularly hard story to arrange in the conventional way since we must have the whole story to be interested in any single part--it has too many striking incidents in it. On the other hand, a story which contains only one striking incident is much easier to handle. Suppose that we are reporting a fire which is interesting only for its cause or for a daring rescue in it. Our lead would suggest this interesting element and the first part of our story would be devoted entirely to the cause or to the rescue, as the case might be.

But it is better to sketch briefly, immediately after or very close to the lead, the entire story, for our readers want to know how it ends before they can be interested in any particular part. If we sketch the whole story and show them that there is only one important thing in the story, they will be satisfied to read about the one striking incident without wondering if there is not something more interesting further on.

If we leave the conclusion of the story to the end of our copy the editor may cut it off and leave our story dangling in midair. Every story must be treated in its own way, according to its own incidents and difficulties; no two stories are alike in substance or treatment. In every one our aim must be to keep to the logical order and at the same time to put the most interesting parts of the story near the beginning.

The construction of the body of a story may be ill.u.s.trated more clearly by a fatal fire story--since fire stories are more uniform, and hence easier to write than other news stories. Let us suppose that the story is as follows: At four o'clock in the afternoon a fire started from some unknown cause in the bas.e.m.e.nt of a four-story brick building at 383-385 Sixth Street, occupied by the Incandescent Light Company. Before the fire company arrived the flames had spread up through the building and into an adjoining three-story brick building at 381 Sixth Street, occupied by Isaac Schmidt's second-hand store and home on the first and second floors and by Mrs. Sarah Jones's boarding house on the third. The Schmidts were away and Mrs. Jones's lodgers escaped via the fire escapes. Her cook, Hilda Schultz, was overcome by smoke and had to be carried out by Jack Sweeney, a lodger. Mrs. Jones fell from the fire escape and was badly bruised. Meanwhile the firemen were at work on the roof of the burning four-story building. Blinded by the smoke, one of them, John MacBane, stepped through a skylight and fell to the fourth floor. His comrades tried to rescue him by lowering Fireman Henry Bond into the smoke by the heels; they were unsuccessful and Bond broke his arm in the attempt. The fire was confined to the lower floors of the two buildings and extinguished. In searching for MacBane, the firemen found him suffocated on the fourth floor where he had fallen.

The feature of the story is evidently the one death and the three injuries. Our lead might be written as follows:

One fireman was suffocated and three

other persons were injured in a fire in

the Incandescent Light Company's plant,

383-385 Sixth street, and an adjoining

three-story building, late yesterday

afternoon.

This lead would suggest to the reader many interesting details to come in the body of the story, and evidently the details are not all of equal importance. The story could be told in its logical order, but, since the death is more interesting than the origin of the fire and the injuries are more significant than how the fire spread, it is obvious that it would not be best to tell the story in the order in which it is told above.

Disregarding the lead, we must cover the following details in the body of our story:

Description of buildings and occupants.

Origin of fire.

Discovery of fire.

Spread of flames.

Injury of Mrs. Jones.

Rescue of Hilda Schultz.

Death of MacBane.

Injury of Bond.

Fire extinguished.

This is the order in which things occurred at the fire. However, in our lead, we have drawn attention to our story by announcing that it concerns a fire in which a man was killed; the death therefore should have first place in the body of the story. Hence, in the second paragraph immediately after the lead, we must tell how MacBane fell through the skylight and was suffocated. Along with his death we may as well tell how Bond broke his arm trying to rescue MacBane. Our lead has also announced two other injuries and, hence, they must be included next--that is, our third paragraph must be devoted to the injury of Mrs.

Jones and the rescue of the unconscious Hilda. But as yet our details are hanging in the air because we have not said anything about the buildings or the fire itself. In the next paragraph it would be well to describe the buildings and their occupants and to give a very brief account of the course of the fire--perhaps in this way:

Flames were first discovered in the

bas.e.m.e.nt of the Incandescent building and

before the fire department arrived had

spread through the lower floors and into

the adjoining three-story building. The

absence of elevator shafts and air-shafts

enabled the firemen to extinguish the

blaze before it reached the upper floors.

This tells the main course of the fire, but there are some interesting details to add: first, the origin of the fire; next, the discovery; then more about how the fire spread; and lastly, how the fire was extinguished. Our story by paragraphs would read as follows:

1st Paragraph--The lead.

2d Paragraph--Death of MacBane and injury of Bond.

3d Paragraph--Mrs. Jones's injury and Hilda's rescue.

4th Paragraph--Buildings, occupants, brief course of fire.

5th Paragraph--Detailed account of origin of the fire.

6th Paragraph--How the fire was discovered.

7th Paragraph--More about the spread and course of the fire.

8th Paragraph--How the fire was extinguished.

9th Paragraph--Loss, insurance, extent of damage.

Thus, while telling the story almost in its logical order, we have picked out the high spots of interest and crowded them to the beginning.

Our readers will get the facts just about as fast as they wish to read them and in the order in which they wish them. Our story may be run in nine paragraphs or even more; or the editor may slash off anything after the fourth paragraph without taking away any of the essential facts of the fire. This method of telling would fulfill all the requirements of an ideal news story. A similar outline of the facts that any story must present will often help a reporter to tell his story as it should be told. After listing the details he may number them in their order of importance and check them off as he has told them.

This idea of throwing the emphasis and interest to the beginning applies to the individual paragraphs and sentences of the story, as well. Each paragraph must begin strongly and display its most interesting content in the first line. The emphatic part of each sentence should be the beginning. A glance at any newspaper column shows why this is necessary.

The body of a news story is the place for the reporter's skill and style. He is given all the liberties of ordinary narration and should make the most of every word. His individual style comes into play here.

If the interest can be increased by a bit of dialogue the reporter may put it in. If the facts can be presented more effectively by means of direct quotation, the words of any one whom the reporter has interviewed may be of interest. However, these things must not be overworked because every trick of writing loses its effectiveness when it is overworked.

Dialogue used only to give facts which might be told more clearly in simple direct form should seldom be used. Dialogue in a news story is used only to color the story and not to reproduce the interviews by which the facts were obtained. In gathering the facts of a story it is sometimes necessary to interview a number of people, but these interviews should not be quoted in the resulting story. Many a green reporter tries to give his story character by telling what the policeman on the corner, the janitor, and a small boy in the street told him about the incident. He succeeds only in dragging out the length of his story and confusing the reader. After all, the purpose of a newspaper is to give facts--and the clearer and the more direct the method the better will be the result.

In striving for clearness and interest a reporter must remember that one of his greatest a.s.sets is concreteness of expression. Of all forms of composition newspaper writing possesses probably the greatest opportunity for definiteness. Facts and events are its one concern; theories and abstractions are beyond its range. Hence the more definite and concrete its presentation of facts, the better will be its effect.

The reporter should never generalize or present his statements hazily and uncertainly--a fact is a fact and must be presented as such. He must try to avoid such expressions as "several," "many," "a few"--it is usually possible to give the exact number. He must continually ask himself "how many?" "what kind?" "exactly when?" "exactly what?"

Expressions like "about a dozen," "about thirty years old," "about a week ago," "about a block away," are never so effective as the exact facts and figures. Definite concrete details make a news story real and vivid. The real reporter of news is the one who can see a thing clearly and with every detail and present it as clearly and distinctly.

VIII

OTHER NEWS STORIES

The fire story is obviously not the only news story that is printed in a daily newspaper, but a study of its form gives us a working knowledge of the writing of other news stories. The fire story is probably the commonest news story, and it is by far the easiest story to handle, for its form has become somewhat standardized. We know just exactly what our readers want to know about each fire, and within certain limits all fires, as well as the reports of them, are very much alike. There is seldom more than one fact or incident that makes one fire different from another and that fact we always seize as the feature of our report.

However, the fire story has been taken only as typical of other news stories. Now we are ready to study the others, using the fire story as our model in writing the others.

There is a vast number of other stories that we must be able to write, and they lack the convenient uniformity that fires have. Not only does every story have a different feature, but it is concerned with a different kind of happening. One a.s.signment may call for the report of an explosion, another the report of a business transaction, and another a murder. In each one we have to get the facts and choose the most striking fact as our feature. Never can we resort to the simple beginning "Fire destroyed," but we must find a different beginning for each a.s.signment.

Just as in the fire story, the lead of any news story is the most important part. It must begin with the most striking part of the event and answer the reader's _Where?_ _When?_ _How?_ _Why?_ and _Who?_ concerning it. All the rules that apply to the fire lead apply to the lead of any story.

It would be impossible to cla.s.sify all the news stories that a newspaper must print. The very zest of reporting comes from the changing variety of the work; no two a.s.signments are ever exactly alike--if they were only one would be worth printing. Newspapers themselves make no attempt to cla.s.sify the ordinary run of news or to work out a systematic division of labor; a reporter may be called upon to cover a fire, a political meeting, a murder, a business story, all in the same day. Each one is simply a story and must be covered in the same way that all the rest are covered--by many interviews for facts. For our study it may be well to divide news stories into a few large groups. The groups overlap and are not entirely distinct, but the stories in each group have some one thing in common that may aid us in learning how to write them. At most, the list is only a very incomplete summary of the more important kinds of news stories and is intended to be merely a suggestive way of supplying the student with necessary practice.

=1. Accidents.=--Accident stories may be anything from a sprained ankle to a disastrous railroad wreck, but they all depend upon one element for their interest. They are all printed because people in general are interested in the injuries and deaths of other people--physical calamity is the common ground in all these stories.

The number of possible accidents is infinite, but there are some common types that recur most often. Among these are: railroad, trolley, railroad crossing accidents; runaways; electrocutions; explosions; collapse of buildings; marine disasters; cave-in accidents; elevator, automobile, aviation accidents.

The feature of any accident story is always, of course, the thing that made the story worth printing, and that is usually the human life element. The feature of an accident story is almost always the number of dead and injured. Most reports of railroad wrecks begin with "Ten persons were killed and seventeen were injured in a wreck, etc." The same is true of any accident story; if more than one person is killed it is usually safe to begin with the number of fatalities. In this connection it may be noted that the death of railroad employees seldom makes a story worth printing; they may be included in the total number, but if no pa.s.sengers are killed, fatalities among trainmen seldom give a story any news value.

Accident stories of course have many other possible features; newspapers report many accidents in which no one is killed. In that case some other element gives the story news value and that element must be played up as the feature. Perhaps it is the manner in which the accident happened or the manner in which a person was killed or injured, as in an automobile accident. The cause of the accident may be the most interesting part of the story: train-wreckers or a broken rail in a railroad wreck, or the cause of an explosion. Very often an accident is reported simply because some well-known person was connected with it in some way; the name then becomes the feature and comes into the first line. A story may be worth printing simply because of the unusual manner of rescue; such a feature is often played up in stories of marine accidents, cave-ins, etc. Not infrequently some of the unusual attendant circ.u.mstances give a story news value: e.g., a policeman dragged from his horse and run over by an automobile while he is trying to stop a runaway.

Here are some accident stories from the newspapers: