Welcome to Storyboard’s first annual year-end roundup of top storytelling: 34 of our favorite pieces in audio, magazines, newspapers and online, with three of the … Read more
Years ago, the wonderful Walt Harrington came to our newsroom and fired us up. We were at the start of a storytelling revival, trying to find our way back to craft, and Walt’s book “Intimate Journalism” had just … Read more
The following comments are taken from a talk given by Oregonian reporter Tom Hallman on September 25, 2009, at the American Association of Sunday and Feature editors. Hallman won the Pulitzer Prize in 2001 for “The Boy Behind the Mask.”
For reporters, there has to be a change of attitude. Narrative was seen as being all about writing and having plenty of time to do stuff. Narrative reporters were seen as prima donnas. So for younger writers, they’re going to have to tell stories, to find stories that are going to be shorter…
The truth is that we turned out stories that were not worth 40, 60 or 90 inches, where the openings were about impressing other writers more than reaching the readers. But you cannot tell a scenic story in 15 inches. It’s going to require a different kind of narrative: The presence of a writer’s voice but without the heavy first person references. My feeling is unless you’ve witnessed a murder, you don’t need to be in the story. It will take a more disciplined approach to the story, the realization that some things are going to have to go by the wayside. You’re going to have to use quotes, whether you want to or not, to condense the story.
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At last weekend’s American Association of Sunday and Feature Editors conference, keynote speaker Shawn Levy spoke about "getting the story" and the connections between writing books and journalism. The film critic at The Oregonian, Levy has written five books, including King of Comedy, about comedian Jerry Lewis, and his most recent biography—Paul Newman: A Life. In addition to his work at The Oregonian, he blogs about film and professional soccer, and tweets compusively, suffering from what he calls “monkey brain.”
Levy suggested reporters should “look high, look low, and look sideways” when researching, and he praised the investigative reporters who taught him how to dig for a story. He talked about the “high”—academic institutions and libraries that offer arcane documents and details. He connected the “low” with tabloid accounts and stories on a subject, and the concept of looking “sideways” with looking for what else was happening in the life and community of a subject at any given point in his life.
Read more from his talk. Read more
While we wished for a central character to focus this narrative, we enjoyed its overall drive—and its fresh topic. We loved the strong voice in the line, “What followed defies explanation” and were captivated by the triumphant, beautifully written ending. Read more
For this remarkable piece of reporting, Hallman gained first access into the ward, via the administrators, and then, more vitally, access into the “hearts and minds” of the nurses. Hallman told the listserv WriterL that he got into the ward … Read more
Hallman spent hundreds of hours and more than 10 months reporting for this series, about a disfigured young boy in Oregon. He says he did very little reconstruction, that most of the scenes are based on his observation. We admire … Read more
Stabler’s series about a black music prodigy is well-reported and -written. We like the rich detail, the elegant descriptions, deft characterizations. What seems left out are more insights into why the 16-year-old, Sam Johnson, has such a hard time. Stabler … Read more
This series has global reach, an international cast of characters—and shows that, to paraphrase Tip O’Neil, “all economics is local.” Read seeks to explain the wide repercussions of the Asian financial crisis in the late 1990’s by following a load … Read more
