Extra Blog: March

It's march madness at the courier as we struggle to gather the much needed articles for our upcoming issue. While I have been diligently gathering the next Claremont Kid's pages material, I was recently tasked to look into an issue over at Cal-Poly. This particular assignment was my first step to being a reporter since I had to run a few background checks on who I was talking to. And when I say background checks I don't mean typing "Megan's law" into my search engine, I mean going onto the Cal-Poly site and scrolling through names and  specific departments for contact information. Once I obtained a decent list of people to contact on the matter at hand, I sent a few emails and made a few calls that is-not without first having a few pages of notes and questions to ask. As of now, I have just completed my first draft but I need to make a LOT of changes. I'm still in the process of learning how to condense my work. I have a tendency to set up scene and delve further into the topic then I need to. So hopefully by the end of this month I will have conquered my current challenge and that is: getting to the damn point.

Blog 18: Fourth Interview Preparation

1. What must a journalist do to properly establish context?

2. What elements help guide the context of an article?

3. What are some techniques a journalist can use when selecting information?

4. Can you define the aspects of a composite character?

5. What is essential for this character to develop? 

6. What elements make for a compelling narrative?

7. How does a journalist maintain objectivity? 

8. Define a three dimensional story.

9. What is the best way to build a three dimensional story?

10. What aspects might drive a three dimensional story off course?

11. What are your thoughts on compression?

12. How might compression be applied to creative nonfiction?

13. Although it is a risk, how might a journalist successfully compress an interview?

14. What are some ways to avoid libel?

15. How can compression be utilized in a way that does not offend the subject?

16. What are some examples of compression?

17. What are some works of creative nonfiction that define the genre?

18. What are some techniques that you think define creative nonfiction?

19. What should creative nonfiction writers be wary of?

20. Define creative nonfiction.

Blog 17: Answer 3

Essential Question:

What two techniques from journalism and  fiction writing can best be combined in creative nonfiction?

Answer #3:

The journalist technique of establishing a context and compression from fiction writing can best be combined in creative nonfiction.

3 details that support this answer:

1) Upon discussing the various techniques that go into journalsism, my mentor came to the conclusion that establishing context was the most important aspect of the genre. Sarah Torribio states, "The selective creation of facts and details as well as composite character development can produce a compelling narrative. Through this process one must maintain objectivity and vividly depict there are through a series of events that adhere to the reader."

2) "Compression combines multiple incidents or situations in order to flush out the narrative. This technique allows a writer to build a compelling, three-dimensional story with more ease and fluidity." Lee Gutkind (You Can't Make This Stuff Up) as he reflects on Janet Malcolm's, In the Freud Archives.

3) Walden published in 1854 by Henry David Thoreau (first attempt at this technique)

The research sources that support these details/answer:

You Can't Make This Stuff Up by Lee Gutkind

Sarah Torribio, reporter at the Claremont Courier

Creative Nonfiction, online magazine:

https://www.creativenonfiction.org/online-reading/compression

Concluding Sentence:

By first establishing context, only then can an author delve into the crucial elements of a narrative. These aspects that provide the flesh to the skeleton of a story include: dialogue, character development, scene, voice, and detail.