(Does My Podcast Need Video?)

Hospitality Mindset

Your guests should feel appreciated, respected, and taken care of during the entire process. Remember that the person you’re interviewing might be nervous, and a comfortable environment fosters vulnerability and easy conversation. You don’t want your guest to see behind the fourth wall. They don’t need to know about tech problems or scheduling issues or the hectic morning you’ve had. It’s crucial that you get your own stress under control, focus on the guest, and create (at least the illusion of) a smooth recording experience. Ideally, everyone involved is absorbed in the conversation and forgets about the microphones at some point.

Be ready to pick up the conversational slack. If you were hosting a dinner party instead of a podcast and there was an awkward lull in the conversation, you would likely feel obligated to steer the group discussion in a new and promising direction. Hosting a podcast is similar. The conversation may dip, but it’s the host’s responsibility to track the energy and keep things moving. Remember, you have the reins and you are guiding your guest through this experience.

You also need to be on the same page with your co-hosts or team. It’s extremely awkward and confusing when hosts or producers openly disagree with each other or display tension in front of the guest. No one can give a good interview if the people they’re talking to are fighting with each other. Before the interview, have a check-in with your team to be sure everyone has the same understanding of the setup, goals, who is asking which questions, and overall interview plan.

The recording environment is another big thing to consider when thinking about hospitality. A lot of in-person interview podcasts use a couch or two large armchairs in a living room style setup with lamps rather than recording in a sterile, dark studio. Make sure water or tea is available for the guest and that the room is a comfortable temperature.

Some podcasters will even make the effort to travel to guests’ homes to conduct interviews. This can of course help the guest relax, but it’s also a big draw for audiences even without video. For example, one of the most played podcast episodes of all time was Call Her Daddy’s audio-only interview with Miley Cyress in which Alex Cooper (host) traveled to Cyress’ home for the episode. In this instance, Cyress opening her home was a point of interest even though there were no visuals because it added a layer of intimacy.

Over Prepare

Wonderful, unexpected moments seem to occur more often when podcasters are well prepared. Research your guests, know their achievements and credentials, know what they are currently promoting, and read their bio online if possible. Find out if they have a hobby or recent life event.

If your guest used to be a clown or grows their own mushrooms or was in the background of a music video once—you could open the interview by asking about one of these things.

It’s also good to have more content prepared than you need. Organize your questions and topics into essential and non-essential beforehand for a smooth interview. You never know what’s going to happen during a recording. The guest could be less chatty than expected, be in a bad mood, get cagey about certain topics, or the conversational energy could be low. 

These situations are inevitable, but to avoid awkwardness or cutting the interview short—have extra questions, a couple of open-ended discussion topics, and maybe a relevant personal anecdote ready. Not every host and interviewee are going to have naturally good chemistry, so having extra notes to lean on when improvised conversation fails can make a huge difference.

Stay on Topic (But Also Don’t)

There are certainly podcasts that thrive on letting guests talk themselves into a crazed, embarrassing hole, but unless that’s your goal, gently nudge guests back to relevant conversation by asking a new question. There is a happy medium between hammering through questions on your outline and letting the interview go off the rails. Digressions are often my favorite part of interviews because they spring organically from something the interviewer and host are connecting over (or disagree about, though that can make for equally good content). 

Keep in mind that the excess digressions can be cut out in post production, and sometimes it’s better to let the guest keep talking because it gives you more interview material to choose from. For the most part, I suggest removing or avoiding ‘secondary digressions,’ which is when there is a digression within digression—only keep these if they’re gold.

Incorporate Larger Themes

Depending on the guest, you may be able to openly dive into larger themes and cultural analyses. Guests who are journalists, work in politics, or are literary authors can give this kind of interview. Other guests whose experience falls outside of these areas may need to be guided more subtly through the themes of an interview. Using a combination of open-ended and leading questions to guide the guest in the direction you want to go is a good method in these situations. 

For example, an interview I produced that featured some of Hugh Hefner’s former girlfriends was constructed in a way that allowed the women to share their experiences through natural conversation, but the questions and editing highlighted themes of coercive control and the infantilization of women.

Don’t Talk Too Much

Talking more than your guest is an interview faux pas. Beyond the awkward disrespect, it’s a disappointing experience for the listener who is expecting to hear from the guest and may have only come to your podcast feed because they follow said guest. 

You want the guest to do at least 60% of the talking, so make sure all discussion topics are in their wheelhouse and that the overall tone of the interview is a good fit for the guest.

Avoid Tech Freakouts

One way to make your guests really nervous is by having disorganized tech. Mics, recording equipment, computers, and video calls are notorious for making people nervous. It’s a piece of equipment that they’re not sure how to use but need to use while performing in a (sometimes high stakes) professional setting—pretty nerve wracking. 

If the interview is being recorded remotely over the internet, it’s essential to make time for a no-stress setup and sound check call. This could be with you, the host, if you are tech savvy or an audio engineer or producer. Explaining things slowly and assuring the guest that if tech issues arise there is help and it is not their fault does wonders for creating a relaxed environment.

Warm Up

I think a lot of people forget that podcasting is performing. Just like an athlete or actor, you need to be alert and in a flow state to conduct the best interview possible. 

I like to do vocal warmups and ecstatic dancing (an embarrassing activity that involves throwing your body around wildly to increase blood flow and endorphins) before recording a podcast. Some people go for a short walk, have a chat with a friend or coworker to get into conversation mode, or meditate. Find what makes you feel the most prepared and create your own warm up routine.

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“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.

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*****

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.

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.

Click to continue.

The post Think Like a Producer to Look and Sound Your Best appeared first on Writer's Digest.

(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.

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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.

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.

Click to continue. 

The post The 5 Questions You Should Ask During (Almost) Every Interview appeared first on Writer's Digest.

(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.

“The newspaper is, in fact, very bad for one’s prose style,” wrote journalist and author Thomas Wolfe. “That’s why I gravitated towards feature stories where you get a little more leeway in the writing style.”

Weaving in a narrative with the facts, feature journalism focuses on entertaining, educating, informing, and engaging the audience. Features are not time-sensitive, so they can be about any topic, taking an in-depth look at a current event, an ongoing issue or situation, a place, person, or a group of individuals.

You’ll find features in regional and national newspapers, regional magazines, national magazines like The New Yorker and The Atlantic, and of course, online publications.

So, what are the main differences between a feature and a news story?

A news piece tells you the story in a simple, straightforward manner, and is usually on the shorter side. A feature can be much longer, with the emphasis more on showing you the story. News is immediate and current whereas a feature can be evergreen, although many are also topical. An evergreen story of course has staying power, being just as relevant and interesting a year or even 5 years in the future. The topics are not always lighthearted however—some features shine a light on societal issues or expose suffering.

News writing follows the inverted pyramid structure while feature writing is more flexible, adopting various styles. The lede or opening paragraph for instance can be anecdotal and descriptive. This gives the writer creative freedom and an opportunity to practice their narrative writing skills and employ storytelling techniques like the ample use of descriptions, plot, and character development. A feature piece can be entertaining—profiling an artist or singer, it can be informative—shining a light on an obscure problem, or it can raise awareness about a current issue.

A skilled feature writer will connect emotionally with her audience, drawing them into the story, painting a vivid picture of the people’s lives, their work, feelings, struggles, predicament, sorrow, or joy.

So now that we know exactly what feature writing is and what it hopes to achieve, let’s look at some simple tips to help you reach these goals. 

*****

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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*****

1. Find a compelling story and choose your style.

A feature can focus on an interesting person, like an author, singer or entrepreneur, a group of people, a topic, an issue, or a certain location. The possibilities are endless. It can be a profile, a human-interest story, seasonal, a lifestyle piece (which are very popular and fun to write—think home décor, fashion, leisure), a hard-hitting news feature, an interview, a Q&A, a trend story, something instructional, food related, business, or travel.

Each of these styles has a different approach, some are light and entertaining while others dive deep into serious social issues. A feature’s length can range from 1,000 to 4,000 words, depending on the publication and its readership. Regional newspaper and magazine features tend to be on the shorter side, whereas nationals and online publications can accommodate longer pieces.

2. Do your research and be observant.

A feature is an in-depth look at a person, place, or event, so it requires a lot of background information. This could be researching the larger topic involved, for instance the history of a community you’re covering, or if your story focuses on a person’s great achievement, you can ask about their childhood, where they grew up, and so on. Digging behind-the-scenes can uncover some amazing details that will make your story glow. It will also help you formulate the right questions to ask during interviews.

Remember to follow-up on little tidbits that could possibly lead to elements that broaden the scope of the story, adding to the intrigue and interest.

3. Conduct in-person interviews.

If possible, organize an in-person interview so you can get to know the person, and ideally conduct the interview at their home or workplace. Being in a person’s environment you get a better feel for who they are, and you can use descriptions of the setting in your piece. Maybe there’s some unusual décor or a painting you can even ask about it during the conversation—who knows, there may be a side-story surrounding that piece.

Be observant, ask questions, and then ask follow-up questions.

If you’re writing about someone with a particular profession or skill, it’s helpful to observe them at work, so you’re able to describe what they do firsthand. For example, say you’re interviewing a therapeutic horse-riding instructor, wouldn’t it benefit your piece to watch them in action with the horses and the individuals served? And questions may pop up that you wouldn’t have thought of otherwise, such as: Why is there a side walker and a horse handler?

Get to know the people you’re interviewing beforehand if possible. Try to meet with them a few times prior to the interview, and maybe follow them for a day if that will improve your story and paint a better picture of their lives. All this of course depends on your time and how much you’re getting paid for the piece. Phone interviews are fine if you’re getting paid a minimal amount and are unable to travel.

For my piece on flea market pickers however, I spent several hours at the flea market, soaking up the atmosphere, chatting with vendors, taking photos, choosing who to interview, noting down descriptions of booths, items, and different people. Flea market vendors come up with the best quotes, and I wouldn’t have got them over the phone. And when my pickers (the main characters of my piece) arrived, I followed them around as they shopped, taking notes, snapping photos, observing how they haggled. And I later sat down with them for an hour or so for a more formal interview.

Another time I wanted to write a feature about a local clairvoyant, and she agreed to an interview only if we did a Tarot card reading. Of course, I agreed, and it was a fun piece to write. Since I was immersed in the experience, most of it was written from memory and I barely took notes.

4. Have a beginning, middle, and superb ending.

Feature ledes, often called delayed, narrative, or anecdotal ledes, must be strong and emotive, to draw readers into the story. It can be as straightforward or as creative as you like. Whereas news ledes focus on the facts, the 5 Ws and H, the opening paragraph of a feature lede sets up the scene or describes a person or location in vivid detail.

With a feature you get to take your time and ease into the story, and it can be several paragraphs long if you’re writing a piece 2,000 words or more (you get to the point quicker in a shorter piece of course). Following the lede is the nut graph, and it’s here you get to tell the reader what it’s all about—in a nutshell. It’s a bridge between the lede and body and tells us why the story was written and why we need to care.

The middle part or body of the feature must have all the usual building blocks of a story, the setting, scenes, action, conflict or challenge, and character building. We must get to know the characters and what they’ve endured, so we care enough to continue and want to see how it all plays out.

Feature stories also need some type of conclusion, so the reader feels they’ve been following a complete story. Obviously, some tales have no actual or definite ending, but your piece must come to a satisfying conclusion, tying everything together. Above all, it must be an ending readers will remember, and hopefully ponder for days thereafter.

Often when interviewing a source, they’ll casually toss out the perfect end-quote or opening line for your piece, and you’ll know it the moment you hear it, scribbling it down frantically with big exclamation points and a grin on your face. I would often have a feature opening formulated in my head on the drive home from an interview. I’d rush to my Mac and quickly tap it out before I forgot.

5. Use descriptive language and have fun with it.

Pull out your notes and try to recall all the details of each scene you encountered, including the atmosphere and feelings you experienced. What was the energy like? Joyful like a Christmas parade? Peaceful? Hostile even?

Engage the senses with vivid descriptions of sights, sounds, colors, smells, textures, and size. Be specific—how tall is that huge metal pink flamingo? What shade of red was the floor length gown—poppy red, crimson? What direction is the picture window facing? Was the chair a vintage Eames rocker or a contemporary reproduction?

Through writing in an active voice and engaging the reader using vivid descriptions, adding the smallest details and your own observations, you’re not only sure to elevate your craft but you might have fun in the process.

The best way to learn and improve of course is to read (and study) the work of successful and talented writers. Here are some notable features for you to peruse:

• https://www.natasharelph.com/wp-content/uploads/2022/11/india_wastepickers.pdf
• https://www.theguardian.com/us-news/2017/jul/14/nucla-colorado-mandatory-gun-law-mining-telluride
• https://www.theatlantic.com/magazine/archive/2021/09/twenty-years-gone-911-bobby-mcilvaine/619490/

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I was on the phone with Scott Turow when his fire alarm went off.

This took place a handful of years ago, after I’d called the bestselling novelist of such legal thrillers as Presumed Innocent to feature him in a Writer’s Digest Interview. The first few minutes of the conversation had felt a bit stilted and formal, and I was beginning to worry the piece would come off as such, when the alarm blared. Turow apologized, sounding somewhat flustered, and off the cuff, I quipped: “It would be tragic if I had to end this Q&A with, ‘… and that was the last anyone heard of Scott Turow.’”

[Scott Turow: Bonus WD Interview Outtakes]

The comment caught him so off guard that he laughed for a good 10 seconds, and it had the effect of cracking open the rest of our conversation, which felt more organic and genuine. In that moment, we’d built some rapport, perhaps accidentally, but that story serves to illustrate the nuanced art of interviewing.

The basics of conducting an interview are valuable for writers of any discipline, from journalists and nonfiction writers to the novelist seeking background information. As a longtime freelance magazine writer and a former editor-in-chief of WD, I’ve conducted more than 100 interviews. In this 101 guide, we’ll primarily focus on feature-length Q&As—a staple format of journalism that depicts an individual’s verbatim answers cohesively pieced together—as opposed to, say, talking to a source for a reported story or collecting background detail for a profile. That said, most of the tips included will be relevant for interviews across the board.

Types of Interviews

PHONE INTERVIEWS: These days, given the impact of general budget-slashing at media companies and the logistical challenges of speaking with people located far away, phone interviews are the most common type you’re likely to encounter. Benefits include the ability to respond in real-time with follow-ups while also being able to speak with people who live time zones or even continents away. One disadvantage is that the conversation can be more difficult to record—to do so, I suggest doing the interview via speakerphone—and another is that it can feel less personal. You can employ techniques as I did with Turow, but nothing beats in-person for natural conversation. Thankfully, there’s an in-between.

VIDEO INTERVIEWS: Now that COVID-19 has made us all Zoom experts, video interviews are far more common (and less intimidating) than they were even two years ago. Benefits of video calls include the ability to see your subject’s gestures and body language, which can help guide the flow of your questioning. It’s also easier to record these sessions with built-in apps. The downside: a spotty internet connection can derail the whole thing.

IN-PERSON INTERVIEWS: Questioning your subject face-to-face (not through a screen) is an ideal format for profiles, Q&As, features, and other pieces where you want to include detail beyond the dialogue itself. If you plan on asking hard or probing questions, it’s also more difficult for your subject to get up and walk away. You can also build rapport much more easily in person. Many of my favorite all-time profiles (and some Q&As!) involve the reporter doing an activity with the subject during the interview: hiking, cooking, bowling. The downsides here are obvious—it’s a lot less convenient and can be expensive if travel is involved.

EMAIL INTERVIEWS: Emails are best for getting very tactical, specific answers to questions or for asking follow-ups—and in my opinion, that’s the extent of it. Sure, sometimes you have no choice, but the problem with Q&As conducted via email is that it gives the subject time to carefully craft their answers and, in some cases, run it through a PR filter. Responses rarely reflect the real way people talk, and the ability to improvise or ask a spontaneous follow-up are lost. In short, email interviews should be a last resort.

How to Prepare

In order to facilitate the most interesting, engaging dialogue in the moment, a fair amount of legwork should be put in beforehand. Yes, your questions will drive the conversation, but strong, smart, probing questions aren’t pulled from thin air—they require background research.

Become immersed in your subject. What exactly that looks like can vary widely depending on who the person is and what they do. As an example, for WD Interviews, I always make sure to read at least two books by the subject, including their most recent work, underlining key lines and passages as if I’m still an undergrad English major. But while consuming your subject’s work—whether a book, an album, a TV show, a study, an article in a journal—is all crucial, my favorite source of inquisitorial inspiration has always been past interviews with the person.

Why? First off, you can get a sense for which questions to avoid because they’re already well-trodden and have been answered a dozen different times. But also, you can tug on threads from those previous pieces that open up deeper discussion. I once read a Q&A in a local newspaper about an American who had won a Norwegian reality show, and he mentioned that with the prize money he was going to open up a craft brewery on a farm in rural Norway. Based on that line alone, I ended up writing a feature-length profile on him for the beer magazine DRAFT.

Another great resource can be social media accounts—especially somewhere like Twitter, where even celebrities tend to be a bit more unfiltered, and you can get a sense of their true interests and passions. Of course, drafting questions does not need to be a subsequent step to the discovery phase—I encourage you to jot them down as you go. Here are some quick tips for developing a solid list:

1. Opt for too many questions. You don’t have to use them all, but if the subject keeps their answers concise, the last thing you want is to run out with more time left in your session.
2. Be OK with “dumb” questions. Sometimes simple phrasing and straightforward queries breed the best answers.
3. Avoid yes/no questions. It’s all right if there is some tactical information you need to get up front, but questions that can be answered in one word won’t be very interesting in a published transcript. When possible, try for open-ended.
4. Split up multi-part questions. Your subject will almost always just answer one part, and questions that ramble can confuse them. Better to break it into pieces for follow-up.
5. Remember to prioritize. Highlight the questions you absolutely must hit and manage your time accordingly.

With a hit-list in hand, you’re all set and ready for the big show.

The Interview Itself

The time has come. So, you sit back, relax, and run through your question list, right? Not quite. We’ve already talked about the benefits of building rapport. Here are seven more tricks for getting the most of your subject.

1. Minimize live notes. Early in my career, I was so worried my audio recording would fail (it happened once when the device was too close to an A/C unit) that I would take meticulous notes live during the conversation. The problem is, I was so consumed with getting their words down verbatim that I was only partly listening to the things they were saying. Use two recording devices if it eases your mind, but try your best to be present in the moment.
2. Allow for spontaneity. Coming in with thoughtful questions is great, but inevitably your subject will say something you want to pick at further. Expect to improvise, and ask follow-ups on the fly.
3. Be OK with awkward silences. This is an old journalism trick. If you don’t feel like your subject adequately answered a question, when they stop talking, take a few beats before moving on. Sitting there in uncomfortable silence can make them feel the need to fill that empty air—at which point they’ll often be at their most candid.
4. Rephrase questions and be direct if needed. If you’re not getting an answer, try asking the same thing in a different way. If you feel like they’re deliberately skirting the question, call it out: “It feels like you’re dancing around a straightforward answer. Why is that?”
5. Save your toughest questions for last. Now, this isn’t always relevant. But if the nature of the interview requires some heavy hitters, hold those until the end. It will give you an opportunity to build rapport first and will also ensure you end up with at least some material if they’re frustrated by what you ask and want to end the conversation.
6. Practice clock management. Be aware of how much time you have and manage your questioning accordingly. The last thing you want is to run out of time without asking your most important questions.

Even after it’s over, you’re not yet done. It’s your job to clean it up and give it a narrative.

Shaping the Final Product

First thing’s first: Get a transcript of the interview to work from. Yes, you can type it up manually if you want, but that can take hours and isn’t always the best use of your time. Tools like Rev.com and Otter.ai use artificial intelligence to transcribe audio for relatively cheap (Rev starts at 25 cents per minute). Will it be perfect? No, but as you read through you can identify lines that sound off and revisit the recording at that specific timestamp to get it right.

As you begin to piece together the Q&A itself, you have some flexibility in shaping the narrative. Feel empowered to cut full sentences or paragraphs from responses, change the order of questions, and add words in brackets to make things clearer. Just be conscientious that you’re not pulling statements out of context or, more generally, misrepresenting the spirit of their answer.

My interviewing idol is Terry Gross, the long-time host of NPR’s “Fresh Air.” In a 2018 article in The New York Times, she said of her process, “I try to clarify in my own mind why this person matters, and why it’s worthy of our listeners’ time.” I suggest approaching your own interviews the same way, using that frame to guide your questions, the conversation itself, and the ultimate flow of your published piece. That said, like any new exercise, getting good at interviewing takes practice. Improvement comes with reps—so your first step is to get started.

The post Interviewing 101: Tips for Writers appeared first on Writer's Digest.

I selected my great-great-great grandfather, William T. Sadler. I knew from family stories he had fought at the Battle of San Jacinto in which Texas secured its independence from Mexico. He had also served as a captain of Texas Army, Texas Rangers, and Texas Militia companies. But I knew little more of him.

So, I took the time to interview my grandmother and some of her aging cousins to collect stories on Captain Sadler. I was pleased at the time to earn an “A” grade on my school report but had little idea the research would be used again many years later when I did a biography on Sadler called Taming Texas.

(Tom Clavin: On the Voyage of Writing Historical Nonfiction)

In a matter of years, there will be no more of our World War II veterans living from the so-called “Greatest Generation.” Thankfully, amateur and professional historians have been dutifully gathering oral histories from these veterans at a healthy pace over the past couple of decades. But the clock is ticking.

History for me took on new meaning when I read works from such as authors as Walter Lord, who spent countless hours interviewing veterans from Pearl Harbor, the Battle of Midway, and other historic events for his manuscripts. The results were pages of rich narrative that gave me a new appreciation for what these common men and women experienced during the actions related in these books.

My recommendation for anyone tackling military history as a genre is to first seek out living veterans of your area of study. Many of them may have only shared their war stories with their close buddies at reunions of their company, ship, or squadron. While history may often be told from the war rooms of military brass, I can guarantee you that every foot soldier, aviation mechanic, or teenage sailor that took part in these actions has a story to tell as well.

You can always fill in the facts for your story later with the necessary action reports, war diaries, and other military papers that can be unearthed from our country’s vast archives. But the human element to your story, particularly those of the World War II era, have serious limits to their availability.

With my latest book, Patton’s Payback, I followed my own rule by first seeing what veterans I could track down. Networking is key, and I had ample contacts through military museums, fellow authors, and veterans’ roundtables to seek out living sources. Others I connected with by searching the Internet for hometown articles on veterans who were recently interviewed.

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One of my prized connections for this project was Lester Cook, who turned out to be the last living veteran of the 500 or so men on the original muster rolls for the U.S. Army’s fabled outfit known as Darby’s Rangers. Mr. Cook was kind enough to share some of his recollections of their intensive training and their history making offensive raids against enemy positions in the deserts and mountains of North Africa in 1943.

I traveled to North Carolina to spend a day with Hubert Edwards, a 101-year-old artillery veteran who had served under General George Patton during the Battle of El Guettar. Edwards shared his feelings on “Old Blood and Guts,” and even a memorable exchange he had later in the war with General Dwight Eisenhower. Although each incident is but a tiny drop in the sea of history surrounding the North Africa campaign, the stories of men like Edwards and Cook for me make the reading that much more personal.

In approaching such aging veterans, it may require the assistance of their children or other caregivers to conduct an interview. Where personal visits are not possible—which has been a very real challenge during the pandemic—I recommend seeking permission to record a phone interview. I have worn out multiple hand-held digital recorders over the years but trust me: You don’t want to conduct an interview while hurriedly scribbling notes on a pad of paper. The digital recordings can be played back and transcribed at your leisure days or even weeks after capturing them.

Many veterans of advanced age have a set list of favorite stories they can still relate by heart. But the key is digging deeper with them to unearth the other hidden gems that time has blurred in their memory. Try having them go through their military scrapbooks and see what faces suddenly trigger the memory of a great story. Offer them assistance by producing a muster roll from their company to help with the names. Walk them through a key battle report to see where their recollection does not jive with the “official” version of what was documented by some company clerk or naval yeoman 70-odd years ago.

They say truth is stranger than fiction. I’ve had many veterans tell stories that even some of their comrades scoffed at, only to later dig up official documents that proved their story to be true. Capture their tales while you can, and then work to verify their accuracy later.

But above all, act swiftly when the chance presents itself to interview someone of interest. I have countless stories of men I planned to “get to later” that resulted in disappointment when I came to learn of their passing. With Patton’s Payback, and other past books, there are often veterans interviewed who are not with us by the time the manuscript is complete. In some cases, I’ve spent time on the phone with veterans and only weeks later received a call from their children that their parent had passed. In most cases, these veterans are pleased that someone cares enough to still want to listen to them and their children are often thankful to receive a transcription of their loved one’s final stories.

Follow-through is the key. Dig out the details as you can. What did they see? How did it sound? What were the smells? Little details, but elements that help bring events to fresh life for readers of an event more than a half century past.

For researchers of World War II or even Korea, we must work with our living eyewitnesses while their bodies and minds are still with us. Don’t put off an interview until next month if you can arrange it sooner.

The time is now!

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The post The Time Is Now: Securing First-Hand Accounts of History for Writing Projects appeared first on Writer's Digest.

Interviewing is a learned skill and takes many years to perfect, and most of us are still mastering the art. It’s also a matter of style and how you come across in general. Are you pushy and stand offish or an empathetic listener? People pick up on these vibes.

(How To Become a Journalist)

But there are some basic steps that will ensure you’ll not only get the quotes you need from every interview but learn to enjoy the process—even the dreaded phone interview. Here are 10 tips to get you started.

1. Know Your Goal: What’s the story?

There are various types of interviews, including in-person, phone and Zoom interviews, on-camera (in-studio or on location), man on the street interviews (vox pops), and the doorstep interview. You can also send questions in an e-mail if you just need a couple of quick quotes to enhance a feature or blog.

Whatever the nature of the interview, always be prepared. This means choosing a quiet location if it’s in-person (especially if you’re recording), and a time when you won’t be interrupted for phone interviews. Everything should be organized and checked beforehand so you can focus on your goal—making the interviewee comfortable so they’ll speak openly and answer your questions.

The length and intensity of the interview depends on the nature of your story, and how the interviewee is involved—Are they the main source or one of many experts? If it’s a profile or Q&A, then naturally it will require a longer and more in-depth interview. If it’s a politician or public official, you’ll probably have some time constraints. So, make sure you know exactly what you need from your interview and book enough time.

*****

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.

*****

2. Do Your Research

Thoroughly research the interviewee, learn everything you can about them and how they fit into the topic you’re covering. Know beforehand how this person’s knowledge, story, or viewpoint will contribute to the piece. From your research you should already have a sense of what they’ll say, just make sure you tailor your questions accordingly to get the desired response.

3. Have a List of Questions Ready

Write a list of questions in a notebook or on a device, in the order you want to ask them. Start with softball questions just to ease in and break the tension. After all, both of you may be apprehensive. Be conversational but not too casual; you’re conducting an interview, not gossiping.

Always remember—you are steering the ship. Those in an official role often try to control the conversation, especially with a rookie reporter. Don’t let them. Be firm and take charge. If someone avoids the question, repeat it, and if they still don’t answer, ask them why they refuse to answer? Put them on the spot. This is your job, and if they’re a public official or politician, they have a duty to respond to your questions, however uncomfortable.

4. Don’t Come Across as a Journalist!

The best compliment I received as a journalist was from a source who poured his heart out for over 30 minutes and then suddenly paused, saying, “Oops, I forgot you’re a journalist, I shouldn’t have told you that…” This was long before the famous Hagrid lines in Harry Potter.

So, the key to being a good interviewer is to be so approachable, down to earth, and attentive, that the person being interviewed forgets you’re a journalist!

When covering a sensitive or controversial topic, sincerity, humility, and compassion go a very long way. People can see through bravado and ego and know when a journalist is just after a sensational soundbite. When interviewing those who have experienced trauma, you should be reassuring, explaining the larger purpose of your project, and make the person feel comfortable and safe so they can speak candidly. This is the only way to get honest, heartfelt answers rather than something rehearsed or guarded.

If an interviewee says something is off the record, then always honor that request. But still try and get to the crux of the story and gently ask how much they are willing to share publicly.

Of course, each type of interview requires a different approach. For example, you don’t need to treat politicians with kid gloves. But always remember to be firm yet polite, you get more flies with honey than with vinegar, as the saying goes.

5. Avoid Talking About Yourself

Small talk to ease the tension is acceptable, but please avoid talking too much about yourself. Mention you’re a mom if it helps build a rapport, but do it briefly, and then get back to the job.

Good journalism is often a quiet art—you must allow the interviewee to tell their story without interruption, especially if it’s traumatic. Avoid talking over people and making comments during an interview or referring to things in your own life. A nod to indicate you’re listening, and good eye contact is enough. Don’t look down at your notes when they’re talking, you can glance at them during a pause in the conversation. There’s nothing worse than revealing your soul and realizing an interviewer is only half listening, and more interested in formulating the next question. People know instinctively if you really care, and if you’re covering such a story, you should care.

6. Ask Open-Ended Questions

Ask open-ended questions and not questions with yes/no answers. Instead of: “Were you scared,” ask, “How did you feel when that incident occurred?” You can always rephrase a question if you didn’t get a complete answer. It’s better to have many quotes to choose from than too little to work with.

7. Timing

Let people pause, don’t feel you have to immediately fill the silence, as they may be on the brink of saying something profound. But do ask a follow-up question if an interesting and unexpected point comes up. Just remember to go back to your list of questions after to make sure you cover everything. If the person strays far off topic, then it’s perfectly fine to briefly jump in and steer them back on course. And if there’s something you don’t understand, ask for clarification.

8. Tackle Controversy Towards the End

Tackle something controversial once you’ve covered the basics and have a few quotes, just in case they refuse to answer, become hostile, or even storm off. You could frame your question in many ways, such as, “Mr. Jones said you’re overreacting, how would you respond to that?”

9. Record the Interview

It’s a good idea to record your interview, whether in person or over the phone, and there’s an abundance of apps and devices available. This way you can relax and listen instead of scribbling away frantically in undecipherable shorthand. You’re also guaranteed accuracy, and able to quote verbatim. Just make sure the app is working before the interview, and tell the person being interviewed that you’re recording.

10. Thank You!

End interviews with the question, “Is there anything else you’d like to add…” to give them the opportunity to reference something you may have overlooked. Check the interviewee’s basic information, including the correct spelling of their name, official title, the name of their organization or business, and ask how they’d like to be referred to in the article.

And finally, don’t forget to say thank you!

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