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Contains chapters on writing news; writing features; writing reviews; style and a glossary of terms used by journalists.
Rules for Raising Little Girls "As the father of a daughter, I wish I'd read this very funny book sooner, if only to know that it's OK for a grown man to wear a tutu." - Dave Barry "Required reading for any parent who doesn't know pants from leggings." - Dan Zevin, author of Dan Gets a Minivan: Life at the Intersection of Dude and Dad It's easy to imagine how you'd raise a boy--all the golf outings, lawnmower lessons, and Little League championships you'd attend--but playing dad to a little princess may take some education. In Oh Boy, You're Having a Girl, Brian, a father of three girls, shares his tactics for surviving this new and glittery world. From baby dolls and bedtime rituals to potty training and dance recitals, he leads you through all the trials and tribulations you'll face as you're raising your daughter. He'll also show you how to navigate your way through tough situations, like making sure that she doesn't start dating until she's fifty. Complete with commandments for restroom trips and properly participating in a tea party, Oh Boy, You're Having a Girl will brace you for all those hours playing house--and psych you up for the awesomeness of raising a daughter who has you lovingly wrapped around her little finger. "Somehow, Brian Klems has taken one of the most traumatic situations known to a father--having a daughter--and made it into something so completely hilarious you'll laugh until you've got oxygen deprivation!" - W. Bruce Cameron, author of 8 Simple Rules for Dating My Teenage Daughter
Writing for Broadcast Journalists is the essential guide to writing news for television and radio, guiding readers through the significant differences between writing text to be read, and writing spoken English that will be heard. This book helps broadcast journalists at every stage of their careers to avoid newspaper-style ‘journalese’, clichés, jargon, and inaccurate grammar or pronunciation, while capturing the immediacy of the spoken word in creative broadcast news scripts. It also gives advice on providing concise online material for broadcasters’ websites. Sections include: • Practical advice on how to write accurately but conversationally • How to cope with a dynamic English language, with new expressions and words changing their meanings • Writing scripts that match the TV pictures, and use real sound on radio • Detailed guidance on correct terminology and the need for sensitive language • An appendix of ‘dangerous’ words and phrases to be avoided in scripts. Written in a lively and accessible style by a former BBC news editor, Writing for Broadcast Journalists is an invaluable guide to the techniques of writing news for television, radio and online audiences.
Inside the Writer's Mind propels readers into 30 very different stories, written for magazines, newspapers and the Internet. Among the stories Stephen G. Bloom dissects are profiles of accused murderers, a Little League umpire, a husband and wife who sign a suicide pact, a world-famous Brazilian plastic surgeon, and a notorious abortionist. Bloom writes about his job canning fruit cocktail, a disaster of a Caribbean cruise vacation, a lethal family of professional wrestlers, and an afternoon spent with Dr. Ruth.
English News Writing is a professional writer's handbook for newspaper reporters, magazine freelancers and journalism students who write in English. The focus is on writing rather than reporting. There is a thorough treatment of style, usage, and the many structures of news stories, as well as dozens of tips on how writers can improve their work. Specifically, the book includes thorough discussions of interviewing techniques, the inverted pyramid, speech coverage, feature writing, reporting on trends, reporting on public opinion polls, using social indicators to develop news stories, writing criticism, writing personality profiles, narrative styles of writing, question-and-answer stories, and the jargon of the journalism profession. Examples of news structures are annotated. The book also includes 42 Rules of Thumb that serve as a quick reference for reporters to improve their work.
Essential English is an indispensable guide to the use of words as tools of communication. It is written primarily for journalists, yet its lessons are of immense value to all who face the problem of giving information, whether to the general public or within business, professional or social organisations. FULLY REVISED AND UPDATED BY CRAWFORD GILLAN RECOMMENDED BY THE SOCIETY OF EDITORS
A first-of-its-kind guide for new media times, this book provides practical, step-by-step instructions for writing first-person features, essays, and digital content. Combining journalism techniques with self-exploration and personal storytelling, First-Person Journalism is designed to help writers to develop their personal voice and establish a narrative stance. The book introduces nine elements of first-person journalism—passion, self-reporting, stance, observation, attribution, counterpoints, time travel, the mix, and impact. Two introductory chapters define first-person journalism and its value in building trust with a public now skeptical of traditional news media. The nine practice chapters that follow each focus on one first-person element, presenting a sequence of "voice lessons" with a culminating writing assignment, such as a personal trend story or an open letter. Examples are drawn from diverse nonfiction writers and journalists, including Ta-Nehisi Coates, Joan Didion, Helen Garner, Alex Tizon, and James Baldwin. Together, the book provides a fresh look at the craft of nonfiction, offering much-needed advice on writing with style, authority, and a unique point of view. Written with a knowledge of the rapidly changing digital media environment, First-Person Journalism is a key text for journalism and media students interested in personal nonfiction, as well as for early-career nonfiction writers looking to develop this narrative form.
Forty years after Tom Wolfe, Hunter S. Thompson, and Gay Talese launched the New Journalism movement, Robert S. Boynton sits down with nineteen practitioners of what he calls the New New Journalism to discuss their methods, writings and careers. The New New Journalists are first and foremost brilliant reporters who immerse themselves completely in their subjects. Jon Krakauer accompanies a mountaineering expedition to Everest. Ted Conover works for nearly a year as a prison guard. Susan Orlean follows orchid fanciers to reveal an obsessive subculture few knew existed. Adrian Nicole LeBlanc spends nearly a decade reporting on a family in the South Bronx. And like their muckraking early twentieth-century precursors, they are drawn to the most pressing issues of the day: Alex Kotlowitz, Leon Dash, and William Finnegan to race and class; Ron Rosenbaum to the problem of evil; Michael Lewis to boom-and-bust economies; Richard Ben Cramer to the nitty gritty of politics. How do they do it? In these interviews, they reveal the techniques and inspirations behind their acclaimed works, from their felt-tip pens, tape recorders, long car rides, and assumed identities; to their intimate understanding of the way a truly great story unfolds. Interviews with: Gay Talese Jane Kramer Calvin Trillin Richard Ben Cramer Ted Conover Alex Kotlowitz Richard Preston William Langewiesche Eric Schlosser Leon Dash William Finnegan Jonathan Harr Jon Krakauer Adrian Nicole LeBlanc Michael Lewis Susan Orlean Ron Rosenbaum Lawrence Weschler Lawrence Wright
Distilled wisdom from two publishing pros for every serious nonfiction author in search of big commercial success. Over 50,000 books are published in America each year, the vast majority nonfiction. Even so, many writers are stymied in getting their books published, never mind gaining significant attention for their ideas—and substantial sales. This is the book editors have been recommending to would-be authors. Filled with trade secrets, Thinking Like Your Editor explains: • why every proposal should ask and answer five key questions; • how to tailor academic writing to a general reader, without losing ideas or dumbing down your work; • how to write a proposal that editors cannot ignore; • why the most important chapter is your introduction; • why "simple structure, complex ideas" is the mantra for creating serious nonfiction; • why smart nonfiction editors regularly reject great writing but find new arguments irresistible. Whatever the topic, from history to business, science to philosophy, law, or gender studies, this book is vital to every serious nonfiction writer.