Finding the balance - the writer's 3Rs

What I’m calling the Writer’s 3Rs are like the standard 3Rs in two ways. First, they do not all begin with R, though they are closer than the originals. For Reading, ‘Riting, ‘Rithmetic I’d like to substitute Reading, Research, and ‘Riting. Second, like the standard 3Rs they are all fundamentally important if we are to have any chance of success.

Reading

Put simply, you can’t be a writer without being a reader. Forget Disraeli’s famously vainglorious ‘When I want to read a good novel I write one’; if you are not reading the best of others you will not make the best of yourself. This is not to say you should imitate what others are doing, but good reading gives you the rhythm of good writing.

By ‘good reading’ I mean reading both as a noun and a verb. Don’t read trash except for learning what to avoid in your writing or for occasional entertainment. You only have so much reading time; spend it wisely with the great writers of all ages, and I mean read them - it’s not enough to have these books on your shelves like trophies, and the screen adaptations are no substitute for the real thing, as good as they might be on their own terms. I’ve had many conversations with people who claim (and believe) they have read this Austen or that Dickens only to discover on probing that they have merely seen the film or TV series.

Don’t think of reading great books as homework, as a necessary duty; they are great books because they contain within them tremendous stories with wonderful characters, and these are books that make you feel, think and grow. Don’t play safe by sticking only to the classics; some of your contemporaries are greats in the making, not all yet widely recognized.

As writers, our ‘good reading’ is also creative reading, dynamic reading, and often rereading because when the writer’s spell is first on us we might become so entranced we fail to interrogate and analyse. Again, rereading is not homework; it is a different level of pleasure with learning in it, and enhances our own art. Creative reading has us thinking more productively, sometimes explosively. It charges our Eureka moments.

Research

I make the distinction between reading and research partly to indicate the more focused reading that purposeful research for a book requires, and partly as a reminder that research requires more than reading. It also means ‘being there’ in the footsteps of your characters, getting out to the locality of your plots; and listening. When J M Synge was writing The Shadow of the Glen he said that much of his inspiration came from overhearing the servant girls in the kitchen through a chink in the floor of the old Wicklow house where he was lodging at the time.

Sketch of JM Synge by John B Yeats

Good research is organised curiosity. The notes you accumulate along the way may eventually represent a forest, yet it will seem that you use only a few branches in the final book. Don’t look on the rest as waste. The research you have done will be in the timbre of your work even where it is not apparent in the content; in fact, research can become all too visible in a book and weaken the effect, like seeing the conjuror palm the card or catching a glimpse of the elegant model’s bra strap. Beware of exposing the architecture.

Do not confine your research to factual material. At certain times people speak more freely in fiction, not least in societies or periods such as the Victorian where repression is the norm and writers have to speak truth in disguise.

The most difficult decision in research is knowing when to stop. One route opens many others; the answer to the question you had yields more questions; or the material is just so damn interesting. In the age of high speed broadband, where you can be delivered in a trice to yet another treasure trove, it's especially tempting to sit, and sit, to sift the jewels ('Oh, my precious'). It’s important to recognize when exploration threatens to slide into procrastination, for then it’s time to write. For all our learning, we will only be credited for what we have ourselves contributed, not simply contemplated.

Writing

Writers do not exist who know exactly what they are going to say from beginning to end when they first sit down to craft the opening words of book or novel. Some will be highly organised with a detailed plot summary, time line, storyboard or chapter plan; others will have mapped out only the sketchiest outline, perhaps a paragraph or three of synopsis. However prepared, no writer is entirely in control at this stage.

The act of writing is a journey in the company of characters and ideas. You may think you know your characters at the outset - after all you have written their biographies and pinned them on the board in front of you - but you don’t. They will let you know more fully who they are as you move along together, just as real friends do on a long trip. Often they will take you to places you didn’t know you were going to visit. And as for the ideas you had when you started; prepare to shed some and take on board a host more that you will discover along the way. If you are new to the experience, prepare to be surprised how much you have to write to find out what you think.

Perhaps there should be a fourth R. Rewriting. At some point you are going to have to turn back and do it all again. Some writers wait until they put the final stop on the last sentence of their first draft, then pause before they begin the process of rewriting; others (myself included) constantly redraft as they go. The truth is, whatever our individual techniques, for most published writers six, seven, eight drafts and more are not unusual.

Master storyteller Stephen King in his book On Writing helpfully makes the distinction between writing with the door closed (first draft) and writing with the door open (rewriting). There is a heat and intimacy, a first flush, in your relations with your book which does not bear interference. But even lovers have to come out of the bedroom sometime. Getting the advice of others is like marriage counselling for your book - better make sure you consult with someone who has expertise on the subject.

Are you getting the idea yet that a writer’s life is a busy one? It is, and it is tricky to get the balance right between the three (or four) Rs to make it also a productive one. Nor are these all. Just as in school our children cannot become entirely rounded individuals by concentrating only on the 3Rs but must also explore other subjects and have time to play and socialise, so must we writers allow ourselves the opportunity to be fully human. Above all, we must find from somewhere the space for another 3Rs - Recreation, Rest and Recuperation. Oh, I wish had the time for one of those time management courses.

Effective news writing

The White Rabbit put on his spectacles.      ‘Where shall I begin, please, Your Majesty?’ he asked.     ‘Begin at the beginning,’ the King said, very gravely, ‘and go on till you come to the end; then stop.’

Narrators and report writers may find this advice from Alice’s Adventures in Wonderland very useful. Effective news writers ignore it.

What happens when friends come to you with some interesting news or gossip? They don’t start with the history or background behind the story – they engage your attention with the most interesting piece of information and fill in the detail as the conversation flows, and as time allows.

A news story should be written in much the same way, with an opening designed to arrest attention, and the key facts presented in the first few lines. Details and less important facts are presented later. This style of writing is sometimes referred to as an inverted pyramid.

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News is written like this for two main reasons:

• Reading newspapers and newsletters is generally regarded as a casual rather than dedicated reading activity. Most of us browse and will only read items that attract our attention quickly. Often we will only take in the opening paragraph of a story, before switching our attention to something else.

• Editors are constantly forced to cut stories to fit the spaces in the paper. The easiest way to do this is to cut from the end upwards. Placing the key facts early in the story protects them from being lost in the editorial process.

Openings

Engaging the reader is key to success. News writers typically spend far more time and attention on openings than on the rest of the article. The reader’s attention is caught by headlines (dealt with below) and leads, the first few lines of the story. A good lead not only summarises the key facts but also sets the structure, leading both writer and reader into the way the rest of the story will unfold. Take a look at this example:

Over 1,000 readers have taken part in a major listening event held by Pooltown Library Improvement Partnership. Their message to the organizers? ‘Bring back the books.’

• A good lead answers one or more of the key questions, Who, What, Where, When, Why and How.

• A good lead focuses on people and on the interests of the target reader.

• A good lead includes at least one arresting key fact (‘over 1,000 readers’) and emphasises the importance of the story (‘major listening event’).

• A good lead points to how the story will develop – in this case, what the event revealed and how the findings may be used to improve the service.

• A good lead sets the pace and rhythm of the story.

Here’s a example of a bad lead:

An important reminder to all of our members and to those wishing to join us! Your database details are the most important item of information we have about you, so please ensure that all of your details are correct and updated regularly. Remember, your database records are your passport to participation!

• This is not news, despite the writer’s attempt to add urgency by using the word ‘important’ twice and by the amateurish use of exclamation marks. There are no key facts or reported actions.

• The fragmented opening non-sentence sets the tone of the piece, which reads more like a warning notice than a news item.

• The lead aims to focus on the target reader, but the focus is lost by addressing both the existing member and the potential member at the same time. The hectoring tone is likely to put off both sets of reader.

• In general it is best to avoid ‘we’ and ‘our’ in news writing as it looks unprofessional and reduces the objective credibility of the piece.

• There are several redundant words and irritating repetitions. The same message could be carried using half the number of words with no loss of meaning.

• Where is the ‘story’ going from here? The lead does not set the structure for writer or reader to follow through.

Headlines

The job of the headline is to draw the attention of the reader to the story. Few of us have the time to read all the stories. We rely on the headline to provide a summary to help us decide whether the article is worth reading. The effective headline is both informative and creative. It distils the essence of the story and stirs the reader’s curiosity.

A headline should be short – usually not more than seven words long – though it may carry a sub-headline or deck underneath to add more information. Good headline writers only use a deck if it adds to the impact of the headline and doesn’t steal the key point in the lead paragraph.

Except in editorial pieces the headline shouldn’t carry an author’s viewpoint, but subtle use (or misuse) of language will ensure that the headline helps to establish the tone of the story. One word change can alter the tone entirely:

MOUNTED POLICE CHARGE CROWD

MOUNTED POLICE CLEAR CROWD

Headlines can be difficult to write; it’s a challenge to summarise a story in a few words, especially as it’s important to write something sufficiently different from the words used in the lead paragraph.

Suppose you need to write a headline; try these tips:

What’s new?

Re-read the story asking the question, ‘What is new here?’ The news element should form the basis of your headline.

Think people

Remember news is people. The human interest always catches the eye and stirs the emotions.

Have fun

Think of some key words in the story and try some word association to develop an angle. Word plays and puns can be effective, but be careful – poor punning or over-use of alliteration is the mark of an amateur.

Think visual

What picture comes to mind as you read the story? Can you transform your mental image into a word picture for your headline?

Think verb

An imaginative verb can make a headline stand out, an active one enlivens.

Change perspective

Write the headline from a different perspective to the main one used in the story. If the story is about a new project, try writing the headline from the standpoint of the people it will affect.

Use quotes

Is there a quote that usefully sums up the story? Don’t overuse this technique, but it sometimes offers possibilities.

Be specific

Key facts – such as a large number or a surprising statistic – can form the basis of a good headline.

Whatever headline you write, always be aware that the editor may choose a different one. This does not necessarily mean that yours was no good. It may be that for reasons of space or layout a different type or length of headline was more appropriate. Always add a headline to your article – it helps you sell your story to the editor before it reaches the reader.

CRAFT

This acronym for good journalism or copywriting stands for:

• Clarity

• Rhythm

• Accuracy

• Freshness

• Taste

Again, let’s imagine you are the news writer. How can you make good use of your CRAFT?

Clarity

Newspapers are read rapidly, so they need to be understood quickly and easily. Avoid difficult words, complex sentences, jargon, technical language, unexplained abbreviations and elaborate expression.

Rhythm

A news story should have good pace, with a certain urgency. Feature stories may be more reflective but never laboured. Use the lead to establish the rhythm, structure and pace of the piece. Use the ‘active’ voice with strong, direct verbs. End the story with a powerful sign-off or a call to action.

Accuracy

Check your facts carefully. If something in your article is inaccurate or untrue it can damage the credibility of the publication and the organisation. In extreme cases it could even lead to legal action. Do your research diligently. Avoid the temptation to ‘boost’ your argument by over-stating a case. Earn credibility by treating your reader with respect.

Freshness

Originality is precious in all writing. In news writing, which is often done under the pressure of a deadline, it’s easy to slip into cliché or lean too heavily on words and phrases that have been used before on the subject. A good test is whether what you have written interests you when you read it. If it doesn’t, you can be sure it won’t engage your reader either.

Taste

Writing is a powerful tool and it’s surprisingly easy to cause offence. Always reread your work with the sensibilities of your readers and other groups involved clearly in mind. Consider your words and the assumptions that lie behind your words from a variety of cultural standpoints.

Quotable Quotes

Direct quotation can be useful in a number of ways:

• It emphasises the ‘people’ elements of your story.

• It can keep the article fresh and lively by introducing a new ‘voice’.

• It can help to answer the questions, Why, Who, What or How.

• Using a quote from an authorative source can reinforce credibility.

• Using voices from inside your organisation can help make it more human for your readers.

• Using voices from your reader community creates empathy with your reader.

You should, however, avoid corporate platitudes and tokenism in your articles. Direct quotation should only be used if it adds value, colour, genuine information or an interesting viewpoint.

Proofreading and Editing

These should be tackled in three stages:

Read for errors

Check for obvious errors first, or they will distract you when you start to read for meaning. Use the spell-check to help but be aware of its limitations and never use the ‘Replace All’ button.

Read for meaning

Read the entire story, concentrating on the big picture. Does the story make sense? Is it newsworthy? Is it accurate and fair? Is it clear and concise? Is the lead interesting and engaging? Are you happy with the tone, rhythm and structure? Does it end well? How will the reader respond?

Read for detail

Read the story once again, with a microscopic eye for detail. Check spelling, grammar, names, dates and facts. Check any information you are unsure about. Tighten up any slack writing and remove redundant words and phrases, or any other padding.

Submit the story for publication only when you are happy that it meets the standards you set for yourself and the standards expected by the publisher and the reader. You may not win the Pulitzer Prize, but you will certainly have improved your chance of seeing your words in newsprint.

‘Put it before them briefly so they will read it, clearly so they will remember it  and, above all, accurately so they will be guided by its light.’

Joseph Pulitzer, founder of the Pulitzer Prize for Journalism (1863-1952)