Newspaper Reporting and Correspondence / A Manual for Reporters, Correspondents, and Students of Newspaper Writing

by Grant Milnor Hyde

That 500 sleeping babes and 100 more who were kneeling in prayer in St. Malachi's Home, a Roman Catholic institution for the care of orphans at Rockaway Park, are alive to-day is due to the coolness of the nuns in charge and the children's remembrance of their teacher's fire drills.

The suspense is built up in such a way that at the end of the lead we do not know what happened and read on with breathless interest to find that there was a small fire at the Home and seven children were burned.

The Body of the Story.—"A good beginning is half done," according to the proverb. In writing a news story a good beginning is more than half done—two-thirds at least. The lead is the beginning, and when that has been written we are ready to go on to the body of the story with a clear conscience.

Our lead has told the reader the main facts of the case and the most unusual feature. If he reads further he is looking for details. In giving him these we return to the ordinary rules of narration. We start at the very beginning of the story and tell it logically and in detail to the end. We tell it as if no lead preceded it and repeat in greater detail the incidents briefly outlined in the lead. Never should the body of the story depend upon the lead for clearness. If the feature of the story is a rescue and you have briefly described the rescue in the lead, ignore the lead and describe the rescue all over again in the body of the story in its proper place. The number of details that are to be introduced into the story is limited only by the space that the story seems to be worth. But no point should be mentioned in the story unless space permits of its being made clear.

The ordinary rules of English composition apply to the writing of the body of the story. The copy must be paragraphed, cut up into paragraphs that are rather shorter than ordinary literary paragraphs, since the narrowness of the newspaper column makes the paragraph seem longer. Heterogeneous details must not be piled together in the same paragraph, but the facts must be grouped and handled logically. No paragraph should be noticeably longer than the others, and it is decidedly bad to paragraph one sentence alone simply because it does not seem to go in with any other sentence. If the fact is important expand it into a paragraph by the introduction of further details; if it is unimportant either cut it out of the story altogether or attach it to the paragraph to which it seems most logically to belong.

One fact, already stated, must be borne in mind as the body of the story progresses. The report should be built up in such a way that the editor can slash off a paragraph or two at the end without injuring the story—without sacrificing any important facts. To do this the reporter should bring the important parts of the story as near the beginning as the logical order will permit. The interest of a perfect news story is like an inverted cone. The interest is abundant at the beginning and gradually dwindles out until there is nothing more to say when the end is reached. Just how far the dwindling should be carried depends upon the amount of space that the story seems to be worth in the paper.

This may seem difficult. It may be hard to see how a story can be told in its logical order while at the same time the most interesting facts are placed at the beginning, even if they logically belong near the end. For example, we may take the story of an unusual robbery. A well-dressed man goes into a grocery store to get some butter and tries to rob the grocer. In the ensuing scuffle the would-be robber escapes. A young woman who happens to be passing sees the end of the fight and pursues the robber down the street until he runs into a saloon. She calls a policeman who is standing on the corner and the officer rushes into the saloon, up three flights of stairs and finds the robber on the roof behind a chimney. The officer shouts to another policeman, and together they arrest the robber.

Now, what is the most interesting thing in the story? Probably the pursuit—a young woman chasing a robber down the street. Our lead might be written in this way:

After being chased down Sixth street by a young woman, a robber, who had attempted to rob the grocery store of Charles Young, 1345 Sixth street, was arrested on the roof of a saloon at 835 Sixth street, at 7 o'clock last night.

The lead might be arranged in a different way, but these are the facts that it would contain. Before we consider the arrangement of the body of the story it may be well to go back to the interviews by which we secured the story. In getting the facts we would probably talk to Young, the groceryman, and to the saloonkeeper into whose establishment the robber fled. We could probably interview the policeman who made the arrest, but let us suppose that the young woman could not be found. The groceryman would tell us about the attempted robbery and the escape, with the girl in pursuit. The saloonkeeper would tell us how the man fled into his saloon and ran up the stairs to the roof; then how two policemen came and made the arrest. The policeman could tell us how a young woman ran up to him and told him that a robber had fled into the saloon; then he would describe the arrest. None of these stories is told just as we want the newspaper story—each one tells us only a part of the story. If the finished story were written by a green reporter it would probably tell the story in the order in which it was obtained. That is if the reporter saw the policeman first, then the saloonkeeper, and lastly the groceryman; his story would tell in the first paragraph what the policeman said, in the second paragraph what the saloonkeeper said, and in the last paragraph what the grocer said. At least that is the way in which green reporters in the classroom attempted to write the story.