The first thing I learned about interviews is to not put my recording device directly on the table. If someone taps on the table, that sound will resonate through the surface. It will be very loud in your recording. 

Who to interview? 

If you’re writing about a specific topic, make a list of experts and/or people with lived experience. Take some time to research who is out there. Who would you like to speak with most? Put them at the top of the list and work down from there. 

Contact people one at a time, or for a bigger piece, maybe in twos or threes. Wait until you get a response before moving on. You don’t want to contact 30 people and end up only interviewing two of them. This wastes your time and theirs. 

Profiles vs. Other Pieces 

A profile focuses on a single person. For instance, I interviewed astronaut Robert Thirsk for a profile piece in INSPIRED 55+. Since the article was mainly about him, I didn’t interview anyone else. 

For something longer or less focused on an individual, you’ll want multiple interlocutors. Try to vary the perspectives you get. 

When I wrote about women in British Columbia who sail their own boats, I cast a wider net to see who might be interested in providing a quote. I included women who sail, of course. I also included comments from people who worked in the marine industry. 

Since my aim was to provide commentary from a variety of people, I didn’t end up interviewing most of my interlocutors in any detail. Think of it like a deep dive versus an overview. 

Balancing Interviews and Other Information 

For the women who sail article, quotations from interviews only made up a small portion of the text. The meat of the piece relied on other research and information. The quotes were there to enliven the story and make it real (Look! These are actual humans!). 

Context for the quotes is key. Introduce the topic first. Then expand on it with some contextual or factual background information. What point are you trying to make? Your quotes should support the point if each paragraph where they appear. 

Here are four tips I’ve gleaned from my interviewing experiences. 

Get a Good Recording 

This might seem obvious, but as I said, things can interfere with your recording that you may never have thought about (like someone gently tapping a table, which sounds like gunshots when you play it back).  

Where should you meet? While a cafe seems neutral and appropriate, they tend to be noise-riddled spaces. Even seemingly quiet cafes might have coffee grinders, or someone’s dog might start barking outside (or inside), or a baby might cry, or there might be that one customer whose voice carries through the whole place above all other conversation. Even if your recording comes out well, you might find yourself distracted throughout the interview. 

A better place to meet is a library study room, an office, or (if appropriate) at someone’s house (unless there is also a risk of barking dog/crying baby, or yard work, or neighbors vacuuming…) 

Outside can be okay if it’s sheltered from traffic noises. And wind. Wind is the worst possible thing for a recording. If you are going to be outside, put a sock or glove over your recording device. There’s a reason those film boom mics have big fuzzy things on them. (Fun fact apropos of nothing: The fuzzy things are called dead-cats.) 

Take Notes as You Go 

Even though you are recording, jot down anything that jumps out at you in the moment. When you’re watching a person speak and hearing their words for the first time, things can resonate in a way that gets lost with just a recording. Especially if it’s only audio, with no visual. 

Taking notes by hand has also been shown to help with memory (see https://www.scientificamerican.com/article/why-writing-by-hand-is-better-for-memory-and-learning/ ). Actively taking notes during an interview helps you focus. It speeds you through your writing process, because when you sit down to write, you will already retain more of what was said. 

The things you write down can also help you focus your article (book chapter, etc.). These are things that you found significant or meaningful. Maybe it was a particular turn of phrase. Maybe it was a fact that you didn’t know before. Maybe your interlocutor said something that contradicted what they said in a different conversation, or that you read about them. Or maybe there’s something you want to follow up on later, but you don’t want to interrupt them in the moment. 

Don’t Transcribe Everything, Just What You Need 

Once you have your recording, you’ll want to go back over it. Transcription takes way longer than you think (unless you’ve done a lot of transcription, in which case you know why professional transcribers charge so much). Instead of trying to capture every word, just play back the recording and transcribe the passages you will actually use. If you need general information instead of exact quotes, then you can take notes like you would in a lecture. Except you can pause the speaker (which would have been helpful when I was in university). 

Even better, if you’re recording the meeting on a video call service, turn on captions. This will automatically generate a transcript of your conversation. Sure, the transcript will contain some minor errors, but that’s what the recording is for. Anyway, you’ll only end up using a few pieces.  

Which leads me to the next point. 

Identify the Most Fitting Quotes 

In my experience, you will inevitably end up with more than you can use. Unless you’ve conducted an extremely focused and specific interview, you won’t be able to use it all. Anthropologists have boxes of unused notes and data in their attics (or digital boxes in their dusty digital basements). You can never use it all. 

When I interviewed puppeteer Tim Gosley for Inspired 55+, we spoke for about an hour. The article was 800 words. For comparison, this article you are currently reading is about 1,000 words. 

In that contained space, I had to introduce Tim, give some information about his life, patch in a few quotes, give some more information, describe him a little, and detail some of his work. In 800 words. So yeah. Most of what we talked about, no matter how fascinating, never saw the light of day. 

This limitation is actually helpful though. Once you pull a few quotes, you can think about how they connect. What is the theme of your project? Where is the focus? Do you want readers to know what it feels like to be in this person’s presence? Are you more interested in facts about their childhood? Do you want to convey their voice and follow the topics that they emphasized themselves? 

For me, this process is iterative. I pull some quotes, I write a few lines about the person or the topic, then I see what quotes might fit with that, or how I will get to the next segment or subtopic. Even when I pull interesting quotes, I end up with more than I can use. 

At least in your early drafts you don’t need to worry too much about word count. Write a little more than what you need. Then pare it down to its clean essentials. Don’t be afraid to make a mess. It’s a bit like collage. The picture will gradually emerge as you tame it. 

The more interviews you incorporate into your work, the smoother this process will become for you. One final tip though: Interviews are exhausting. They can be brilliant and fun, or (rarely) tedious and boring, but they are always tiring. Don’t schedule more than two on the same day. Really you should only do one a day, if you can help it. That way, it’ll stay fresh in your mind. 

Interviews can add depth and polyvocality to your nonfiction writing. Get a solid recording and integrate the right quotes to support what you’re trying to say. Then send your work out into the world and figure out who you’ll interview next! 

The post How to Use Interviews in Your Nonfiction Prose appeared first on Writer's Digest.

“If we were supposed to talk more than we listen, we would have two tongues and one ear.” -Mark Twain

In journalism there’s a time for everything. A time to ask tough questions, to probe and prod. A time to demand answers and hold leaders accountable. A time to be tough and unwavering while seeking truth. And there’s a time to stay silent and listen. This is when we can access the very soul of a story.

(20 Common Journalism Terms for Writers.)

But how many of today’s journalists are good listeners?

The ability to listen is probably our most powerful tool as journalists. Some people are natural listeners, others need more practice. But we can all improve in this area regardless of experience. Interviewing should be more than fishing for the right quotes, it’s an expedition, an opportunity to learn. And listening goes beyond hearing an answer to a question, it involves understanding and comprehension. It also requires our full attention and focus.

We’re always communicating in some form—chatting on the phone, tapping out countless emails or texts, and jumping on video calls. Most exchanges are brief and superficial since we’re all so busy. Yet a huge number of people are desperate to be heard, evidenced by all the online “content” and the thousands of comments on sites like Facebook and YouTube.

When’s the last time you truly listened to someone for an extended period? And conversely, when’s the last time anybody listened to you? Maybe as a society it’s time for us to slow down, take a deep breath, and pay closer attention to each other. When someone asks us, “How are you doing?,” we usually offer a quick, “Fine, thanks; how are you?” Imagine if we told people how we really feel. Half the population would make a quick exit. “Wow, look at the time! Gotta pick up the kids… nice seeing you, bye!”

And how often do we start formulating a response when others are still speaking? While interviewing, are you always thinking of your next question instead of focusing on what’s being said? Stephen R. Covey, author of The 7 Habits of Highly Effective People, rightly stated, “Most people do not listen with the intent to understand; they listen with the intent to reply.”

As journalists and nonfiction writers, we’re in a unique position to give people a voice and a chance to share their story. To truly understand their perspective and effectively present their position, we must listen intently when researching and interviewing.

Here are 5 ways to improve listening skills.

1. Respect Everyone and Listen Equally

Since journalism requires constant interaction with the public, we must wear many hats and develop chameleon-like qualities. If you’re a generalist like me, the stories covered in a typical month vary immensely. Therefore, the ability to communicate effectively and respectfully, with people from diverse backgrounds is essential.

As an investigative journalist I could go from having tea at the House of Commons with a Member of Parliament, to sitting on the pavement outside a restaurant smoking a cigarette with a homeless 19-year-old girl. I treated both with dignity and respect.

Every interaction is different, of course, and while it’s important to approach each person according to their unique situation and circumstances, we must always use our active listening skills.

2. Listen to Yourself

I transcribe my own interviews, whether they’re over the phone or in-person. While time consuming, I find it not only helps flush out the best quotes but it’s also a great learning opportunity.

I consider myself an experienced interviewer, but I don’t enjoy phone interviews. After listening to my recordings, I realize that I talk too much, and my nervous laugh is cringe-worthy. It’s a humbling experience but has made me more mindful and aware.

Try recording an interview and play it back. How did you sound?

3. Know When to Stay Silent

I much prefer interviewing in-person, and this is where I excel.

It’s important to have a comfortable space so sources can fully express themselves. Guide the conversation, then sit back and let it flow. Always be respectful and empathetic, and especially gentle with those sharing traumatic events. If the person becomes upset, just pause the interview, and allow them to be. A respectful silence or a few kind words like ‘take your time’ are adequate here rather than offering empty platitudes.

Interrupting someone at the wrong time can be detrimental. The person may have been on the brink of spilling everything, but a question could derail them, and then the moment is lost. If they pause and look at you expectantly, that’s when you can continue with more questions. But take your time before jumping in, keep steady eye contact, and stay silent for a few seconds, as they may be contemplating saying something else.

When I visited a group of Kosovar refugees, I came prepared as I knew it involved hearing about traumatic events. We gathered in the living room, and I sat listening for several hours, barely asking questions. One young man in his late teens, a lit cigarette shaking in his hand, was particularly eager to talk. Who else was listening to him?

4. Forget Yourself

Temporarily set aside your own feelings, opinions, and prejudices before the interview. After all, this is not about you. All your focus should be on the interviewee. Be objective and calm. Empty your mind of personal concerns, such as the drive home, what to make for dinner, and worries about how the interview will go. 

Just shake it off and immerse yourself in their story. Give them your undivided attention and the interview is sure to go well. People know if you truly care about what they’re saying or if you’re just trying to get an interview done. They can also sense tension and hostility.

During an interview, unless it’s relevant and will break the ice and create a bond, it’s best to avoid talking about yourself.

*****

The Writer’s Digest Guide to Journalism is a practical, informative, and well-researched introduction to journalism and its best practices, with actionable advice, tips, techniques, explanations, and anecdotes straight from the field. In this digital guide, writers will learn how to write an effective news piece, skills need to be an effective journalist, outlets for publishing journalism, journalism associations, and so much more. Both inspirational and pragmatic, The Writer’s Digest Guide to Journalism is packed with valuable resources for aspiring journalists.

Click to continue.

*****

5. Eliminate Distractions

Distractions come in many forms, locations, actions, and thoughts.

Let’s start with our thoughts. Ernest Hemingway offers some simple advice, “When people talk listen completely. Don’t be thinking what you’re going to say.”

During interviews, especially when under pressure, you may worry about awkward silences or that you’ll forget key points. But try to avoid thinking of the next question. People can pick up on this and know you’re not really paying attention. Glancing down at notes while they’re speaking is rude and should be avoided. Wait until there’s a natural pause.

The location should be free of distractions. Ideally, interviews should be conducted in the person’s home or office, especially if they’re a main source for a feature. It’s not only familiar and comfortable for them, but you can also get a better feel for who they are from the furniture and décor. I once conducted an interview at a bar. It was morning but still noisy and I was having difficulty hearing them. In hindsight, since I was interviewing the owners, I should have asked for a quieter spot. Lesson learned.

A journalist’s conduct and body language are also important. Let’s start with facial expressions. Don’t look bored, yawn, or roll your eyes. Keep steady eye contact but avoid staring. You can nod in encouragement but try keeping your body still and don’t fidget. I avoid clickable pens for this very reason.

Make sure you’re both seated and settled before starting the interview. There’s nothing worse than an interviewer rummaging in their bag or fiddling with their coat zipper while saying, “Please keep talking, I’m listening.” As author and psychiatrist M. Scott Peck said, “You cannot truly listen to anyone and do anything else at the same time.”

Oh and of course, turn off your cell phone before the interview.

Here’s a fun challenge. Call up a friend or acquaintance and invite them for coffee or lunch. Make sure you’ve got plenty of time and don’t have to rush away. Instead of being a chatty Cathy like me, (it’s hard not to when you work from home), instead order a Grande coffee, or a meal that is labor intensive (to deter talking) and just sit there and listen. I think you’ll be amazed how much people really need to talk to someone and just feel heard.

The post A Time to Listen: The Art of Good Communication in Journalism appeared first on Writer's Digest.

(10 Interviewing Tips for Journalists.)

In my 25 years as a freelance writer, I’ve had the pleasure of interviewing a wide range of people, mostly in the culinary arts, entertainment, and business worlds. Some folks are natural storytellers, and my interviews feel more like conversations that flow steadily and easily. Others feel nervous about being interviewed, or their attention is pulled in a multitude of directions, so it’s my job to make them feel at ease while gathering salient quotes.

But I hadn’t encountered anyone who didn’t think they had anything valuable to say. Not until Peter.

Peter Huey was in his 90s when I interviewed him in 2017. He had immigrated to the U.S. in 1950 from Hong Kong. Along with his nephew, Peter owned and operated Won Kow, the oldest restaurant in Chicago’s Chinatown at the time (it has since closed).

I had interviewed other business owners and community leaders throughout Chinatown for my story on Won Kow, but my interviews with Peter Huey, I hoped, would be the centerpiece. I called him at the restaurant, where he still worked every day, to schedule our first in-person chat. After I offered some possible dates and times, there was a pause on the phone.

“You don’t think you can find anybody better than me, huh?”

I was stunned. Anybody better? In my mind, Peter was indeed a valuable historian. The Chinese-American Museum of Chicago even expressed interest in archiving my interviews with him. Peter had started as a server at Won Kow in 1950 and was still there, nearly 70 years later. No! I wanted to shout. There isn’t anyone better!

I assured him, as best I could, that his experiences were vital to the restaurant’s history, and he reluctantly agreed to meet me at Won Kow the following week.

Our first interview was awkward. Peter deflected every single question about his past, his family, his staff, or his life in China. I have spent over a decade of my life interviewing restaurateurs for features and guidebooks. Most are grateful for the press and are generous with their time. I’ve only had one restaurateur refuse an interview, out of hundreds. I have learned to navigate language and cultural barriers, and maneuver around the harried restaurant life. I am always respectful of their time and try to get in and out as quickly as possible.

Peter was gracious but guarded, and looked nervously around the restaurant while we were talking, as though guilty of something. The wide cultural gap between us felt insurmountable. I was able to get some vital information, but not much detail, so we scheduled a follow-up.

At the next interview, Peter showed up with a Won Kow menu he had found in the building’s basement. It was dated 1928.

“Can you use this in your book?” he asked brightly. I took this as a sign he was becoming more comfortable and persisted with my questions. He still dodged and ducked, but we were headed in the right direction. I asked for another chat the following week.

On our third interview, Peter handed over an entire file of recipe cards he had found in Won Kow’s bar when he bought the building with his brother in 1970. These were original, handwritten recipes for some of the first tiki drinks in Chicago—maybe in America. I took a few photos with my cell, gave the box back to him, urging him to keep it in a safe place, and got my publisher to request written permission to reprint a couple in the book. But I still wasn’t making much progress in getting him to talk about his life, his family, or the history of the neighborhood. I could barely get him to talk about the menu and where he sourced the ingredients, or how his customer base had evolved over the years. He just couldn’t fathom why he was interesting. I felt stuck.

Around the same time, I was taking a course at the Chicago History Museum to discuss Studs Terkel’s book, The Good War. Our teacher was Peter Alter, Director of the Studs Terkel Center for Oral History, so I knew we were in capable hands as we tackled this epic work.

At the end of our first class, which I had taken for fun, Alter assigned homework—an interview with a veteran. I eagerly dove into the assignment, which was well within my comfort zone. I wound up interviewing my niece, and walked away with what I felt was a compelling and fascinating account of her military service during the Iraqi War.

I had hardly glanced at the resources Alter handed out to help us with this assignment—excerpts from Doing Oral History, by Donald A. Ritchie, and Oral History for Texans, by Thomas L. Charlton.

At our next class, Alter reviewed the Charlton handout. Most of it, on interviewing techniques, was Journalism 101 to me: how to use closed questions, open-ended questions, and a balance of both when interviewing subjects. But one interviewing technique, the use of seven different “probes,” caught my attention. Per Charlton, these are “questions and statements that probe what has been said.” Probes are used to persuade a respondent to “reach back in memory for additional, more specific information.”¹

I had been using some of the seven probes on instinct. But the “silent probe” was particularly intriguing. In a nutshell, interviewers using this technique remain silent after a respondent answers a question. This silence sometimes allows the respondent the opportunity to ponder the question more fully, and may continue to talk, unsolicited. I decided to give it a try at what I hoped was my final interview with Peter Huey.

The next time I saw him, we sat at our usual table at Won Kow, in between lunch and dinner service, Peter with his mug of tea, me with a glass of ice water, my cell phone recording audio between us.

I once again asked him more about his history as a restaurateur in Chicago. I sipped at my water and let silence hang in the air after he offered his usual, brief answer. As we sat, I became more acutely aware of the sounds around me; employees were clearing dishes from tables nearby, and the overhead music played ‘80s hits. After about a 30-second pause, Peter started talking spontaneously with a story of his past, instead of his usual stiff answer. I felt a surge of elation.

I tried it again, asking him how Chinatown had evolved in the nearly 70 years he had lived there. Again, he gave a short answer, then elaborated after my silence. Over and over, I let these silent probes do their work, and our conversation continued for over an hour. Though Peter still looked nervously around him from time to time, his body relaxed in the chair. He crossed his legs, leaned back, and folded his arms, sometimes getting lost in his thoughts. He smiled more. I had to stop the recording to save the file and start a new one several times, since I’ve learned—the hard way—to break up long interviews with several recordings in case one file gets damaged or deleted.

Peter wasn’t offering anything I considered juicy or scandalous. It was fairly standard information about anyone’s history. But I respected the fact that it was probably the most personal information he’d ever given to someone outside his community. I considered it an honor.

I thanked Peter for his time, then gathered up my belongings and prepared to leave, somewhat exhausted by our long talk. It was a late winter afternoon and would soon be dark; I wanted to get home before Chicago rush hour traffic hit. Ever the gentleman, Peter stood up, ready to walk me out. I wish I could end this story on that victorious note.

“You aren’t going to use any of that, are you?”

My heart fell into my shoes. I stared hard at the floor, trying to avoid expressing the frustration that flooded my body. Peter looked scared, nervous. He had signed a release that gave me permission to use the images and interviews I gathered. I had every right to use them in my book.

But I didn’t. It became abundantly clear to me that he was conflicted about sharing what I felt were somewhat mundane details about his life. I agreed to only use our earlier interviews, before our breakthrough that long afternoon, out of respect for someone who was in unchartered waters.

I felt deflated as I filed our conversation under “personal.” At least I had grown as a writer by learning to use silent probes for more spontaneous, interesting interviews. I’d have to write my story on Won Kow without what I felt were more interesting details about Peter’s life and Chinatown’s history, and accept the day for what it was—an afternoon with someone whose comfort zone only extended to the dry facts. Someone who revealed himself as a storyteller, if only for a couple of hours, if only for my ears.

___________________________

1. Charlton, Thomas L. 1985. Oral History for Texans, Second Edition. Austin, TX: Texas Historical Commission.

Author’s Note: Peter Huey passed away in 2022, after several decades as a restaurateur.

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Media is how readers find out about books and authors. To get that media attention that will connect you with your audience, it’s essential to establish yourself as an expert—because you are one!

Some authors think the media plan will all come from the publisher. But as an author, you play an essential role in garnering media attention for your work. Your job is to get yourself out there as much as possible. That means training yourself: understanding the media landscape, pitching, preparing for interviews, and creating an infrastructure to keep the momentum going once you start getting featured in the media.

My free resource 10 Questions Every Author Needs to Answer is a great way to get started. You can download it at PaulaRizzo.com/10QWD.

I was a senior TV producer for nearly 20 years before I became a media trainer. I worked in local and national news in New York City and even received an Emmy Award for my work. I’ve gotten thousands of pitches and booked hundreds of authors. I know which pitches work and which ones don’t get responses. As the author of two books, Listful Thinking and Listful Living, I’ve put my knowledge into practice when it comes to doing media myself.

Here is how to create a sustainable media strategy, from before your book comes out to after the initial phase of promotion concludes.

Before Your Book Comes Out

Yes, the media strategy starts before your book even has a publication date. Maybe even before your book exists at all!

Establishing yourself as an expert can happen at any stage, and the earlier, the better. For instance, I started my blog, ListProducer.com, in 2011 and began creating videos and trainings on productivity before my books came out.

By the time my first book, Listful Thinking, was published in 2015, I had already created a catalog of evidence to share with producers and editors showing that I could speak about my work. That way I could point to my blog while pitching and say, “Look at all this content I’ve created about list-making and productivity.” It backed up my expertise. Plus, when it came time to get a traditional book deal, it was easier to sell myself as an expert because the media already gave me their seal of approval.

You can begin creating media on your social media platforms, through a blog, or by launching a podcast or live-stream show. When producers look you up, having an active online presence with high-quality material will show them that you’re professional, knowledgeable, and reliably able to share your message with an audience.

Remember, media begets media. The more media you do, the more that you’ll get. You can always use one media segment to pitch another.

Pitching the Media

Pitching the media can seem intimidating at first. But crafting the perfect pitch requires some prior planning. Over the years I’ve developed a pitching formula—I use it to pitch media, so I know it works. As a producer, I always gave a careful look at stories that had these elements.

Remember, the media won’t just find you. It’s important to tell them that you’re there, that you’re available, and that you want to be featured. That’s where the three elements of a perfect media pitch work their magic.

The perfect pitch has three elements: the hook, the twist, and the takeaway.

The hook answers the question Why now? Why is this story idea interesting and relevant right now?

The twist answers the question How is this different? When I was a producer, I appreciated a pitch that wasn’t the same narrative over and over.

The takeaway answers the question What does the audience leave with? What action do you want the audience to take after they watch your segment? This is what makes your pitch meaningful.

Using these questions to guide your pitch is key to making it stand out above the rest. And don’t be a snob! You can’t hold out for “Good Morning America” and turn down smaller or local channels. It all matters. And guess what, you likely won’t get those big opportunities at first. Start small, practice, get better and more confident. Then, the bigger media outlets are more likely to book you if you have a good track record of previous media appearances.

Preparing for Media Appearances

Your pitch worked. Now what? I developed an approach I call the Accordion Method for preparing for interviews that I use with all my media-training clients. The Accordion Method is about having a small, medium, and long answer for the questions you think you’ll be asked. It works for all kinds of media opportunities.

First, you need to do some research and watch or listen to previous interviews. That way you’ll have a sense of the kinds of questions common to the show or anchor and the order in which they’re asked. Gather as good of a sense as you can and then jot down the questions you expect.

For each question, come up with a short answer—and think in headlines and soundbites. You want to make the producer’s job easy. Producers are always more likely to ask back experts who speak articulately and concisely. This short answer needs to be attention-grabbing.

Then come up with a medium answer. You still need to get right to the point, but now you can add a little more detail. Always start with a bang and then explain the context.

Finally, create your long answer. Once again, you start with the headline and add specific evidence for your first statement.

Once you have your Accordion Method answers for the questions you think you’ll be asked, you need to practice—then practice some more! Practice on camera, watch it back, and do it again. Some people think they can “wing it”—but even if you know your topic inside and out, you still need to practice. You need to hear yourself saying the words out loud. This is much different than simply writing them down or reciting them in your head.

Record yourself and listen or watch back. Pay attention to how fast you talk (you probably need to slow down!) and try to cut down on filler words such as like and um.

Smiling also makes a big difference in how you come across on camera. If you’re joining from a home studio, I have lots of tips for creating a setup that looks professional. But most of all, always start with a smile. (Unless, of course, it’s a serious topic!)

And remember—always look directly at the camera when shooting at home, not at the little thumbnail of your video!

If you’re in the studio, pick one eye on the reporter or anchor and stare into it the whole time. This takes the guesswork out of whether you should look at their mouth or forehead or switch eyes. Pick one eye and stick with it. This works for any conversation, and I’ve been told it’s one of my most useful tips.

Keeping the Media Momentum Going

Once your book is a few months old, it’s no longer new and notable.

Does that mean you should stop doing media? Of course not! I still do interviews and am identified as the author of my books. I talk about productivity and lists more than anyone else and people remember me for it. Especially members of the media. They remember me when they need an expert in this area. Focus on keeping the media momentum going by finding new ways to pitch the media that revolve around you as an author and expert, not just on your book.

It’s also essential to keep sharing the media you do. No one will know about it if you’re not promoting yourself. I know many people feel uncomfortable about self-promotion. That’s natural—no one wants to be thought of as braggy or self-centered. But as an author, sharing about what you’re working on is a way of being of service to others. Your message is important, and people need to hear it.

Media training is an aspect of becoming an author that many people are unprepared for. But once you learn these skills, you’ll continue to reap the benefits.

Click to continue.

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In a past edition of this column, I explored the ways you can approach creating and sharing content to support your work as an author. But what about the nitty-gritty of video production and content creation?

This is where many people get stuck. You want your content to be a reflection of you and your writing: high-quality and reliable. You definitely don’t want people to second-guess your expertise because of the way you present yourself online. Luckily, there are lots of wonderful tools accessible to you—and I’ll clue you in on my go-tos.

Thinking like a producer means creating content in multiple ways and across multiple platforms, from pre-recorded videos to live video interviews. Producers also know how to leverage tech and on-camera skills for the best possible end result.

Here are my tips for creating content that boosts your profile and supports your goals as an author.

1. Consider your appearance.

Even though an at-home video recording or interview means the camera will only capture you from the waist or chest up, don’t wear sweatpants or pajamas! Get fully dressed, as if you were heading into an in-person meeting or interview. You want to fully embody your professional persona as an author, and the right clothes help you step into that role.

When getting dressed, think about what outfits will be the least distracting. Solid colors such as blue or green are ideal. If you’re using a microphone, don’t wear jewelry that could bump into it while you’re talking and make a distracting sound. If you wear makeup, test out a few different looks so you can see what comes across well on camera. You don’t need to transform into someone else—you just want to come across as your best self.

2. Slow down your speaking.

We all use “um” and “like” sometimes, but it’s time to work on cutting those out, at least on camera. Using filler words distracts from your message and it undermines your credibility. Record yourself and notice what filler words you tend to rely on. Then, try again and practice slowing down and removing them from your speech. My best suggestion is to get comfortable with a moment of silence—it’s always better than rambling.

3. Make eye contact.

Always look at the camera, not at yourself! I know that it feels more natural to look at yourself or at the person you’re speaking with when you’re doing an interview. But when you do that, people don’t get that sense of eye contact and connect with you. It’s much better to make eye contact with the camera. It feels less uncomfortable the more you do it! I have lots of tips and tricks like this in my course, Media-Ready Author.

4. Simplify your background.

When you’re creating content from home, you want to make sure your background is appropriate for video meetings or interviews. Try to have a simple background—you can always move your desk around for the occasion. Having lots of items behind you will draw your audience’s attention away from your message and towards your knick-knacks! If you can easily get your book behind you, do it. Ideally, you’ll have some depth behind you if you can, but if not, a solid color works too. As for virtual backgrounds or blurring effects, I suggest skipping them. You don’t want to look like you’re hiding a messy room behind you!

5. Keep the lighting natural.

You don’t need to spend a lot of money on fancy lighting. Use natural light whenever possible. Never put a window behind you, because it will make your space look dark and uninviting. The more light, the better quality your on-camera image. Remember keep the light on your face, not behind it.

6. Invest in a microphone.

Having a good microphone means you’ll be heard loud and clear during video calls and interviews. You don’t want someone to have to ask you to repeat yourself because your voice sounded too fuzzy.

I suggest the Stick Microphone for when you’re using your laptop, or the Lav Microphone when you’re using your phone. You should test out your new hardware prior to creating any content or using it for an interview—you want to make sure you know how it works before the big moment.

7. Check out noise-canceling software.

Creating content from home means you run the risk of background noise. No one expects that you’ll have a soundproof recording studio, but you should try your best to minimize sounds that distract from your voice. Krisp is an app that allows you to mute background noise during calls. It’s perfect for working from home, since you don’t have to worry about the sounds of your kids or pets interrupting an interview.

8. Make sure your camera is up to the task.

A low-quality camera can’t produce a good image, even with the best lighting. It’s important for your audience and your interviewers to be able to see you clearly. Many smartphones and computers have great cameras these days, but if you want to buy a separate camera, the Logitech 1080p is a great option.

9. Elevate your computer.

Having a computer stand is one of my best tips for elevating your on-camera appearance. Elevating your camera creates a more natural, and level video, as if you really were right in front of your audience. This is super important for creating connection and intimacy with the person you’re talking to. You can also try a standing desk! If you don’t have time to order a computer stand, you can always prop up your laptop with some books. Just make sure to do a quick test to make sure things look right.

10. Practice, practice, practice.

If you’re new to creating video content or doing media interviews, it’s a good idea to practice talking and answering questions before the real thing. Try recording yourself so that you can see how you’re doing. Then you can rewatch and take note of what you’re doing well and what you want to improve on. Try using my 10 Media Questions Every Author Needs to Answer as you practice.

Here’s some things to look out for: Are you looking at yourself or the camera? Are you using filler words? How is your posture? Is the background distracting?

Practicing will help you feel more confident in your presentation, and that will definitely come across in your content. The more content you create and the more interviews you do, the more comfortable you’ll feel.

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(10 Interviewing Tips for Journalists.)

Later, after a good cup of coffee, that idea might take hold and wind up on the page, or fade away in the light. Those unexpected moments can lead to a new project or book or a new turn for your character, the one that’s still unfolding.

Some years ago, I agreed to write a big musical piece for an opera company. The only requirement they had was that they wanted me to incorporate into the work stories of people who were new to this country, in any way I saw fit. After I signed, I was so puzzled by this huge undefined thing I had agreed to write that I doubted those sparks would ever arrive. 

Without a shape, an arc, a theme, or so much as a plan, speechless as to what I’d gotten myself into, the only thing I knew to do was to go find people to tell me their stories. I figured I’d record them, then transcribe everything so I would have original lines to work from. I hoped the way forward would then open up like the song about the bear who went over the mountain—after I collected a few stories, I’d see where to go next. That decision changed my writing life.

It didn’t happen all at once. I barreled into the first interview so deafened by my own point-of-view—American-born, white, female, gay—that I put their stories into my own context, and failed to ask what I needed to ask to establish or even understand theirs. That’s what point-of-view is, that’s what it establishes—an overarching context that tilts everything in the piece in more or less the same direction. I had worked so hard to learn point-of-view on the page, I had no idea that your own could deafen you, in your writing or in the world.

One day early in the project, I took a break and went into a nail salon run by a group of Vietnamese women and blithely asked a stylist working there to tell me her story. I thought it an uncomplicated question I had a benign right to ask. I didn’t hear the superiority in my request, the implication that “of course you’re not from here and I am.” Then I added, “I just like stories,” and couldn’t hear this as trivializing her experiences. The final blow: I said the mayor was interested in this work.

I didn’t yet know how suspicious, how careful, people in Vietnam had to become about interrogations and government officials after the communists took over, didn’t imagine she could have endured something like an armed official striding unannounced into her home who might, say, count rice bowls in her cabinet and then arrest them all. There are five bowls here and only four people are registered to live in this house. Who are you hiding?? The woman flinched, then muttered something to the stylist at the next station. Chatter in Vietnamese, loud and agitated, exploded in the shop. They could not get me out of there fast enough.

Context is everything. I didn’t yet know how to listen outside of my own.

Gradually, I learned. I learned as I watched the impact of each of my questions, as over 120 people told me their stories, in depth, over that year. They could talk for hours. Since I didn’t know life in their country or culture or mindset, and didn’t know what they had lost or what they sought, I had to build the world around their story by listening and sensing what to ask. Most important, I noted what they didn’t say—what they assumed, or avoided—and that was often my guide. 

I learned to listen with my body, my heart, and my past all in play. In that terrifying state of empathy, questions burbled up unbidden that seemed to spark something in them, and opened up their world—inner and outer.

Check out Leah Lax’s Not From Here here:

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What I didn’t yet understand was that I was absorbing the varied voices of my society. I internalized something about the cadence and rhythm of speech and specific context that creates a unique character on the page. That is, I learned to write characters by listening to real people, and listening between the lines.

In fiction, we get to know our characters by creating their world and making sure they are a unique product of it. Once a character gains that uniqueness, they take on a life of their own. We begin to listen to them. Their actions will come from their nature, not ours.

Now, when I write, for fiction or nonfiction, before I dig deep into myself to find that flow of ideas and words and characters, before I even sit down in front of that blank page, I get quiet and tune in to the world and its voices with all of my senses. Then I feel more able to capture the world in writing, or create the world that I need to create, which will be different for each character. In that way, hopefully they won’t just come out like various reflections of me.

And if I’m writing about real people, well, by truly listening to them, then poring over their words and writing in the gaps in a way that clarifies all that I learned about their context, I just might find my way to their humanity. Maybe I will also find their intersection with my own, and discover a little more about my world. And myself.

The post How to Find Great Stories and Listen Between the Lines appeared first on Writer's Digest.

(10 Interviewing Tips for Journalists.)

There are two main types of sources in journalism—primary and secondary. We’ll address how to handle them separately.

A primary source refers to firsthand evidence, raw information, and original research material. This could be an interview the journalist conducts with a person who witnessed or participated in an event or has direct knowledge of a subject, or the material written by such an eyewitness (a diary, report, or transcript). It can be data and statistics, results of polls and surveys, government documents (such as reports of legislative sessions), photographs, or video. Sources also include speeches, audio recordings, and interviews with government officials, business leaders, politicians, and organizations.

A secondary source is citation, commentary, interpretation of, or an analysis of a primary source. This could be an article, book, a reference to an existing interview, or a review of data or research. In essence the author did not experience the event firsthand and did not conduct the research themselves, so is one step removed from the primary source material.

Sometimes newspaper or magazine articles that report directly on current events can be considered either primary or secondary sources. A journalistic piece, such as a news article or feature, should consist of multiple sources and include records and people.

On Handling Primary Sources

“Don’t quote me on that…”

Experienced journalists have probably heard this request at least once during their careers. It can derail a possible story. You need at least one source on the record as well as supporting research for a news piece to be credible. There’s nothing worse than reading an article which states, “a source close to the politician claims…” or “according to officials…”

Attribution is important if you want people to take you seriously as a journalist. For the sake of transparency and accuracy, you must use reliable information and sources, especially if the story is big, covers a serious issue, or involves influential people. Sources who are in some way involved in the story, from experts to victims, should be identified whenever possible.

But sometimes you encounter sources who wish to remain anonymous for legitimate reasons. Maybe exposure could threaten their social standing, employment, or even their safety. In some cases, anonymity is required, if the story involves a minor or a victim of sexual assault. Deep Throat, the secret government informant who helped expose the Watergate conspiracy (who was identified in 2005 as former FBI associate director, Mark Felt), is probably the most famous anonymous source of all time.

As investigative journalists for a current affairs series, we often pursued controversial stories and many of them never materialized because we could not find enough people willing to speak on the record. If a person wanted to appear on the show anonymously, we would hide their identity by filming the interview in silhouette and disguising their voice. For example, when investigating the activity of an allegedly dangerous cult, our main source (a former member) was interviewed in silhouette and never identified.

In print journalism, it’s important to be accurate when quoting a source. Unless your source or contact is in danger, under 18, will be compromised if you reveal their identity, or has explicitly asked not to be quoted, an attribution should be used. According to The Associated Press guidelines on attribution, a source’s name, title, age, and hometown should be included where appropriate, in addition to the name of their company, organization or government department. This solidifies their relevance to the story and will not only strengthen the piece but add credibility to the publication.

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The Writer’s Digest Guide to Journalism is a practical, informative, and well-researched introduction to journalism and its best practices, with actionable advice, tips, techniques, explanations, and anecdotes straight from the field. In this digital guide, writers will learn how to write an effective news piece, skills need to be an effective journalist, outlets for publishing journalism, journalism associations, and so much more. Both inspirational and pragmatic, The Writer’s Digest Guide to Journalism is packed with valuable resources for aspiring journalists.

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The Associated Press has also posted a strict set of guidelines on the use of anonymous sources on their website. You can read them here.

For information on how to proceed if you’re ever requested to reveal an anonymous source, please check the resources below.

Unless you’re pursuing a highly controversial topic or sensitive issue, sources for most stories are usually accommodating. Always treat sources with respect and gratitude, as they’re giving up their time and energy, as well as putting their names out in the public sphere. Never pay a source for information. Checkbook journalism is not only controversial it’s also unethical and can lead to disinformation. How many times you visit with and formally interview the story’s main source depends on the depth and length of the piece you’re researching and writing. It also depends on logistics. It’s preferable to conduct an in-person interview, but for freelancers especially, this isn’t always possible, so phone and digital interviews are fine. Interviews should be recorded so you can quote verbatim in your piece.

As for other types of primary sources, such as government data, statistics, documents, and records, the key is authenticity and reliability. You must acquire information, such as statistics and official reports, through legitimate online sites, for example the US Bureau of Labor Statistics. If it’s offline, make some calls and speak directly with the appropriate person. You may also need to visit the library or archives; it all depends on your story. For example, I was researching the dangers of low-flying jets and needed the military report on a fatal cable car accident involving a U.S. Marine Jet. I contacted Langley Air Force Base, explained what I needed, and received the document by mail. Most of it was redacted, but we filmed it and used it in our program regardless.

If your story is data driven, a list of the world’s poorest countries per capita GDP for instance, make sure you’re quoting the most recent figures. Primary sources of this nature can also include text of laws and similar documents, famous speeches, scientific research reports (which you can obtain from institutions or organizations who conducted the research), and legislation.

Always make sure you accurately quote these sources in your piece and include attribution. If it’s an online publication or official site add a link to the report, research paper, or document, when possible. This makes it easy for readers to verify the information you’ve provided.

When referencing (or using) a photo or video, you must identify where you found it (archives, news library, documentary, etc.) and where it was published or broadcast.

On Handling Secondary Sources

Whereas primary sources are firsthand accounts, secondary sources are written or recorded after the fact, including commentary or interpretation of the primary source materials.

(5 Skills You Need to Be an Effective Journalist.)

History books are an example of a secondary source, as are journal and research-based articles, political commentary, scholarly articles, biographies, reviews of laws and legislation, and analysis of data or reports.

Most writers will use secondary as well as primary sources to strengthen their piece and add a diversity of viewpoints and expert insights and perspectives. Primary research takes time and resources, and if you’re writing a shorter piece to a tight deadline, it’s sometimes easier to utilize and reference a secondary source.

Secondary sources should be handled with the same respect as a primary source and properly attributed. You can either quote a source verbatim from an interview, summarize what a source has said publicly, or paraphrase a source from an existing article or book. You must also explain why this analysis or opinion is relevant to the story, and state where and when it was quoted, citing the title, author, and publishing date of the book, magazine, or other resource.

When using online resources and information, thoroughly research the publication or website and try to locate the original source material. Disinformation is rife online, as we all know, so caution is advised. Using false information can seriously backfire on a journalist and can damage the reputation and integrity of the publication.

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Resources

• U.S. Bureau of Labor Statistics website
• SPJ Code of Ethics
• https://www.ap.org/about/news-values-and-principles/telling-the-story/anonymous-sources
• https://www.cjr.org/united_states_project/journalists_privilege_shield_law_primer.php#:~:text=There%20is%20no%20federal%20shield,based%20on%20state%20common%20law.

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1. What was your inspiration?

Inspiration is the creative spark that leads to great things, the “aha!” moment when the abstract suddenly takes form. It strikes writers, musicians, researchers, and more—anyone striving to create, build, or innovate. Almost every important accomplishment has started with a moment of inspiration, and it behooves writers to explore that aspect of a story.

As a general freelancer, my work requires that I talk to people in all walks of life, from astronauts and artists to cancer researchers and filmmakers. Almost always, there is an important moment of inspiration in these people’s stories, and I’m eager to explore it. For example, I recently interviewed renowned paleo artist William Stout for Back Issue! magazine regarding his extensive dinosaur-themed comic book work. His covers are very action-oriented, and I asked about the inspiration behind two of them for a series titled Cadillacs and Dinosaurs. Both covers, Stout said, were inspired by incidents that occurred while he was visiting Antarctica studying and drawing the local wildlife. In one instance, he and a colleague almost died when their Kodiak boat nearly overturned in the icy water. The other was inspired when a scientist in Stout’s group was knocked to the ground by an aggressive bird called a skua. In addition to being great stories, these anecdotes illustrate how inspiration can come from the strangest places, and how successful creators use it to their advantage.

The best way to approach the topic of inspiration with a source is be direct and specific. “What was your inspiration for X?” “Where did the idea for Y come from?” “What commonly inspires the work you do?” Sometimes the response will be mere background, but often it sheds important light on why or how a certain thing happened.

2. Why is this important?

Someone who has accomplished something remarkable inherently understands why that accomplishment is important. You may, too, but your readers may not, especially if the topic is novel to them. It’s up to you as the writer to encourage your source to explain the importance so the reader understands just how life-changing it promises to be.

I write often about health and medicine, and I always ask why a particular breakthrough is important. Sometimes it’s readily apparent: a novel treatment for cancer, for example, is important because it will save thousands of lives. But other times the importance needs to be clarified in a way that says to the reader, “Pay attention—this breakthrough may have important implications for your own life.”

Asking why something is important may sometimes seem unnecessary, but it’s still a good idea to have your source explain that importance because their answer may provide additional information or reveal deeper insight. 

3. What were the greatest challenges you faced, and how did you overcome them?

Everyone loves a triumph-over-adversity story, so asking sources how they dealt with overwhelming challenges in pursuit of success can often form the heart of an article or profile, and even become its through-line.

What were the greatest challenges you faced, when did you recognize them, and how did you overcome them? This line of questioning can reveal a source’s intent, the extent of their drive, and how they think through obstacles, which in turn helps illuminate the importance of their achievement.

Challenges can take many forms, such as time constraints, a lack of necessary materials or funding, or gaps in knowledge that must be bridged. Challenges became the primary focus of a feature I wrote for Veterinary Practice News regarding the San Diego Zoo’s involvement in an international effort to save the nearly extinct northern white rhinoceros, of which only two remain in the world. Understandably, the challenges faced by participating veterinarians and others are extensive, ranging from perfecting ovum pickup (the retrieval of unfertilized eggs, a skill possessed by only a handful of people worldwide) to converting cryogenically preserved cells from northern white rhinos into stem cells that could develop into sperm and eggs. These and other challenges drove my article, fueled by the effort’s desperate race against time.

4. What do you get personally from your work?

I love this question because it addresses the issues of motivation and reward: Why are you engaged in this effort, and what joy do you derive from it? Unfortunately, many writers gloss over this question, if they raise it all, because they don’t think it’s particularly important or will add to the article they’re writing. But I have found that asking what someone gets personally from their work can evoke emotions that take the conversation, and sometimes the resulting article, in unanticipated directions and reveal unique insights.

I ask this question often, regardless of a source’s occupation, and almost always find their answer quotable. Some love the challenges their work provides. Others do it simply for the fun of it, which is fine. But altruism—the satisfaction of knowing their work helps others—is one of the most common responses I hear. Kwane Stewart, who I profiled for Veterinary Practice News, is a good example. The California-based veterinarian created an outreach program that provides free veterinary services to unhoused pet owners. This mission, he told me, stemmed from an encounter he had with a homeless man whose dog had such a severe flea problem that it looked like a burn victim. Stewart treated the dog for free, and the results were nothing short of miraculous. “I felt the man’s despair [when we first met], and I then pulled his dog out of a state of suffering,” Stewart recalled. “It was such a healing moment for me.” These kinds of evocative, emotionally charged quotes are writing gold, but you have to seek them out.

5. Who else would you suggest I talk to?

Beginning writers often start a project with a set list of sources, and hold firm to that list. This can severely limit an article’s scope, perspective and depth of opinion, insight and information. Early in my career, I learned to conclude every interview by asking the source who else they thought I should talk to. Almost always, they would suggest colleagues whose knowledge and insight added to the topic I was writing about. When reaching out to Dr. B, I would let them know that I had already talked to Dr. A, who had made the referral. With this recommendation, Dr. B would almost always agree to a chat.

By asking sources who else they would suggest you talk to, you’re opening yourself to unanticipated opportunities that can help improve your work. Professionals, regardless of occupation, are almost always aware of the true innovators in their field and the importance of their work. As a result, they may recommend subject matter experts you had no knowledge of, and areas of research that help give your article additional depth.

Not every referral will be useful. Some may be individuals you have already talked to, while others may not be directly involved in the subject you’re writing about. But the question is always worth asking because when a referred source has additional information or insight to share, your readers will benefit.

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(5 Different Forms of Journalism.)

As a journalist, my job was to talk to lots and lots of people. Sometimes the conversations were light-hearted and brief. Sometimes they were intense and emotionally grueling. But the sheer volume of the people I spoke to gave me massive amounts of raw material I used to build vivid characters and, I hope, pithy, realistic, and sometimes funny dialogue.

In short, there are things that I learned to do as a journalist—ways of speaking and listening—that made me a better novelist. And I’m going to share my top five with you.

Talk to a lot of different kinds of people.

Many novelists are introverts, and I get it. But your writing is influenced by the inputs around you—what you are reading, the TV shows you are watching. Even, ugh, social media. And the human experience, mediated by other humans and deformed by technology can start to become derivative and, ultimately stale or even sort of phony.

Sure, it will feel familiar but what is familiar about it is that you’ve read or heard it before. For me, what separates good writing from its more impoverished brother is that good writing feels fresh. It makes you understand something in a new way. And here’s who will help your writing maintain that quality—people. I regret to inform you that you have to break out of your shell and force yourself to get more information about the world.

Here’s an incomplete list of the people you should try to have face-to-face conversations with as often as possible: Rich people. Poor people. People with power. People with none. Women, men, kids. Immigrants. CEOs. Immigrant CEOs. Prosecutors. Old people. Defense lawyers. Social workers. Nurses. Doctors. Your dental hygienist. The guy who grooms your dog.

Ask them lots of questions about their lives. People are so much more varied, and their backstories are so much more intense than almost anything you could make up, unless you are writing science fiction.

True story: My dental hygienist, who I thought was one of the most patient, gentle, cheerful women I’ve ever met, arranged for her brother to bludgeon her husband to death. Then she cleverly evaded prosecution for five years, but was eventually charged, tried, and convicted. I could not have made that up. I’m certainly glad I talked to her while I had the chance.

Check out Peg Tyre’s Strangers in the Night here:

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Ask open-ended questions.

Not “Did you immigrate from Guatemala?” but “Can you tell me what you remember about your journey from Guatemala?” Not, “Your uncle shot at the intruder, right?” but, “Take me back to that moment when your uncle shot at the intruder. Set the scene for me. What led up to it?” Not, “What is it like to be running this company?” but “What about you would surprise the people who work for you?”

If you find someone who can tell a story, keep the flow going. Novelists, like journalists, need to find guides who can take them through experiences and help them fuel their own imaginations. Pretty good storytellers are everywhere. But really good storytellers are solid gold. Once you find one, encourage them.

Be careful not to interrupt with other questions or cut them short. Instead, offer big nods and smiles and even a hand at the heart if the story gets very sad. You need to silently signal your engagement and your compassion to keep any worthwhile human interaction going. Figure out how to actively listen without interrupting.

Listen very, very carefully to people when they talk.

Human beings reveal themselves in ways that are much more unique, dramatic, and weird than any dialogue I could ever have made up. Of course, there are some master dialogue writers in contemporary fiction and if you want to become one, I suggest you use tools that journalists use.

Peg’s Pro Tip: Record a conversation as it’s happening on your phone, then feed the file into a transcribing software (otter.ai for example), then read over the transcript of your conversation. I guarantee you will be horrified at how idiotic you sound. Eh. Forget it. You have to get over that.

Because as you cast your eye over the roughly written transcript of the words your subject uttered, the way people phrase things, the senses they use to describe events, and the metaphors they use, especially if English is not their first language, you will be amazed. The nuggets will jump off the page at you and deliver a little jolt. And here’s what you have: the kernel of a character, or a snatch of some amazing dialogue you can weave into your narrative.

Watch body language.

There is a lot more to communication than talking. And to make vivid characters, you have to describe their physical ticks, their little habits, to your reader. Watch how people talk—what they do with their eyes, their hands. Keep track of your own energetic response to stories—your body will sometimes respond to something before your mind does. It all counts.

Show your appreciation.

I’m showing you how talking to lots and lots of people, day after day, inspired me and fed my creativity. But to be sure, this was not a transactional or extractive process. I wasn’t mining them. I was well aware that I was being given something valuable—even when I was talking to mass murderers or maybe especially when I was talking to mass murderers.

I never lost sight of the fact that there was a small miracle taking place—one that has been occurring and reoccurring since the beginning of time. One person sharing their experiences, honestly and thoroughly, with another.

And I always felt, and showed, my appreciation. It’s a common experience, and yet, when you have a great interaction with someone, also authentic and fresh. And you see that it is not so common after all. When you do it right, you know you’ve been given a gift. 

The post 5 Things Novelists Can Learn From Journalists appeared first on Writer's Digest.

So, what exactly is a Q&A article and why are they popular with both readers and writers?

The Q&A (question and answer) article is an edited transcription of an interview with a simple narrative introduction. It involves interviewing only one source, making the process much smoother and less time consuming than having to coordinate multiple interviews. Since the focus is on the interviewee, readers can enjoy their story unencumbered by news angles, interjections, or any inference that can sometimes sneak into reported articles and features.

The interviewee can be a person with amazing accomplishments or a fascinating career. They can be a famous author, actor, director, or artist. While they don’t necessarily have to be well known, they must be compelling.

A great Q&A requires thorough research. Your subject must have something interesting to say and the ability to say it well. Your finished piece should be simple, well structured, straightforward, and enjoyable to read.

Here are seven tips on how to write a Q&A readers will love.

1. Choose an interesting subject/interviewee

Ask yourself who you would like to read about in a magazine or online publication? For the best results you need to find someone with an interesting story and/or unique viewpoint. You also need to ensure that they’re good talkers, and the only way to do this is to find and read any previous articles or simply call them and chat. After a few minutes on the phone, you’ll know if they’re talkative enough to warrant a full Q&A.

2. Do your research

To extract interesting answers an experienced interviewer knows what questions to ask and how to ask them. This is a skill we must all develop and hone as journalists in general, but for a Q&A it’s imperative.

Thoroughly research your interviewee so you can ask questions that generate compelling answers. If you only get monosyllabic responses, then you have no article. You must delve into your subject’s life and background and find any interesting facts and scenarios. Make sure you ask some basic questions first, but don’t repeat obvious questions that have already been answered in other interviews (if you find any). Try thinking far outside the box and come up with fresh ideas. Put yourself in their position—what would you like to talk about if someone asked you for an interview?

Have a list of questions ready at the interview, but you don’t necessarily have to use them all. This is just your guide, and it can help to get the conversation flowing. Be sure to ask follow-up questions as they arise. This is often when you discover the gems, the scoops. Maybe you’ll stumble upon something they haven’t spoken about before. Your resulting piece will then stand out from any other articles that may be circulating.

3. Record the interview

How will you conduct the interview? You can either interview the person over the phone, in person, or through a video meeting app like Zoom. Just remember to record the interview as you won’t have time to scribble enough notes and probably won’t have the opportunity for a re-do. 

Make sure your recording device is working beforehand by calling a friend or partner. There are many apps available. I’ve used Tape a Call, my MacBook voice memos, and a handheld digital voice recorder. When conducting an in-person interview try to meet in a quiet space with little to no background noise. 

There’s nothing worse than straining to decipher what someone is saying when your main goal is accuracy and authenticity. It also takes longer and ends up being frustrating. This is supposed to be straightforward and fun, remember!

4. Be conversational

This is a conversation not an interrogation, so make sure to keep it light. This isn’t hard news or an investigative piece. For this type of article, you want your interviewee to relax, open up, and feel comfortable talking about themselves. Your research should have prepped you for the type of questions to ask, but easygoing conversations can go anywhere. Have fun with this. 

You’re chatting with a unique individual. These moments are precious, and we’re extremely privileged as writers and journalists to have the opportunity to talk with some of the most interesting people in the world. And it’s perfectly fine to ask your interviewee at the end if she wants to add something or if you’ve missed anything important that they’d like to mention.

5. Transcribe your own interviews to get the best results

This is a personal choice. Transcribing long interviews is nobody’s idea of a fun time, and many writers are comfortable using a transcription service. But I prefer transcribing my own interviews as it’s an opportunity to hear the conversation from a different perspective and I may spot something interesting and pertinent that would be lost or missed if I used a service. While tapping away I automatically edit (by putting big stars and exclamation points by the stuff I like) so by the end of the process, I have the best answers figured out and the piece is almost formatted.

I would also suggest listening to the interview again after transcribing, maybe while doing household chores like folding clothes or ironing (does anyone even iron anymore?). This way you’re hearing the conversation from yet another perspective—the listener. Imagine if this was an NPR interview, what would you include or omit? Have a notebook and pen ready, just be sure to carefully place the iron down first. You might capture some aha moments while starching that crisp white button-down shirt.

6. Edit for length, flow, and clarity

By now, you should be quite the authority on the interviewee and their story and therefore it will be easier to pick and choose which questions and answers to use in your piece.

Edit and structure them in a way that flows. They don’t have to be in sequential or chronological order, it just needs to read well and make sense. Trim down your questions (it’s not about you) and edit out all the excess fluff in the answers, including all the inevitable ums and ahs.

7. Write a catchy introduction

Your introduction or lead should be short, to the point and compelling enough to draw the reader in so they’ll read the whole article. Since you know your subject very well by now, you can easily find some unique angle with which to propel your piece.

For example, here’s the lead of a Q&A I wrote for Videoscope Magazine:

He’s a 6’ 4” South Carolina native who went from playing football for the Clemson Tigers to becoming a famous actor in China. Fluent in Mandarin, he’s the first non-Asian to study at the Beijing Film Academy. He landed a starring role in the $100 million fantasy adventure film Asura, billed as the next Crouching Tiger, Hidden Dragon. And his vision is to bridge the gap between the American and Chinese film industries. Now based in L.A., he’s tackling Hollywood. Meet Matthew Knowles, one of the most interesting men in the business.

The trick is to say a lot in a short paragraph. My subject here, Matthew Knowles was a perfect candidate for a Q&A since he has such a unique and fascinating story.

Just one more…

Article Format

Questions and answers need to be clearly differentiated and the format and length of the piece is usually determined by the publication you’re writing for. It can range from using the names of the interviewer and the interviewee (starting off with their full names and then using just initials) to using the letters Q and A in boldface. Or you can boldface the questions and use italics for the answers.

If writing on your own platform, maybe on a site like Medium or your own blog, you can choose from any of these different formats. Just make sure you keep it consistent throughout the piece.

Good luck with your projects and we look forward to reading some great Q&As soon.  

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