We often highlight stories from reporters who are well-known in the world of narrative journalism, but a lot of unsung writers slip narratives into print and online daily. Here are some moving stories with sharp scenes or imagery from three people we bet you’ve never heard of.
“Sacia's Promise,” from Kaitlin Manry of The (Everett) Herald:
"She remembers waking up in the middle of the night, just 2 or 3 years old. Her nightgown is wet. So is her bed. She walks into the living room, calling for her mom. She's not there. Sacia instead finds a stranger, a man, dividing piles of little white rocks spread across the coffee table. The pearly white stones are like baby teeth and crumble when he touches them. She runs back to her bed and stays up all night, kneeling on wet sheets, waiting for a mother who never comes."
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For a primer on different approaches to storytelling, take a look at two recent narratives on chronic traumatic encephalopathy (CTE). In GQ, Jeanne Marie Laskas’ “Game Brain” follows a pathologist who discovers CTE through an autopsy on a … Read more
The best print narratives often take the form of either movie or metaphor. The first approach hinges on complete scenes, allowing a story to unfold as it would in film, through a discrete series of moments or events. This style … Read more
Josh Benton has a post about online narratives at our sister site, the Nieman Journalism Lab. Here’s an excerpt from it, describing a story that appeared on Gawker: “Thomas’ story is … Read more
This weekend, The New York Times began running a five-part series from reporter David Rohde, who was kidnapped in Afghanistan in 2008 and remained in captivity for seven months and 10 days. In “Held by the Taliban,” Rohde uses … Read more
Last Sunday’s New York Times Magazine included a personal essay from novelist Jonathan Safran Foer, “Against Meat,” which recounts his struggles with whether or not to eat (or teach his child to eat) other creatures. As I started … Read more
Current Nieman fellow Hopewell Rugoho-Chin’ono recently pointed out this striking TED talk from July, in which Nigerian novelist Chimamanda Ngozi Adichie speaks on the danger of letting one narrative define other people or places. Adichie describes her own … Read more
Some events cry out for narrative treatment. Take a look at this wire story about a St. Louis Cardinal fan injured in Pittsburgh and the assist he got from player Albert Pujols. And then read Todd Frankel’s “St. Louis Cardinals fan feels uplifted after fall,” which ran a month later in the St. Louis Post-Dispatch.
No one assigned the piece to Frankel, but he had watched the game on television that Friday and suspected there might be more to the story. By the following Monday, he still hadn’t seen any new information from beat reporters, so he spent a week getting the Pirates public relations staff to find out if the fan, Tim Tepas, was willing to be interviewed.
Tepas initially agreed to a five-minute conversation. But across several days, five minutes turned into five hours. And it was only at the end, Frankel reports, that Tepas mentioned the letter he had with him the night of his injury.
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“Trial by Fire,” from the September 7 issue of The New Yorker, recounts the story of Cameron Todd Willingham, executed in Texas for setting fire to his house and killing his three children. Reporter David Grann uses disturbing details to reinforce the doubt expressed in the article’s subhead (“Did Texas execute an innocent man?”) , and the drama continues to unfold as more evidence comes to light suggesting a mistake was made.
The facts of Willingham’s story are compelling enough, but Grann’s structure maximizes their impact. He opens the piece with the fire itself, giving readers just the information that was available for investigators to examine.
Those fire investigators are the next characters we meet—the people we count on to interpret the facts and explain what happened. Grann gives us a list of their credentials; one is a former firefighter and recipient of multiple Purple Hearts with decades of on-the-job experience. We follow as Grann recreates their visit to the ruins of the house, which leads them to classify what they find as a clear case of arson. Read more
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.
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