A plodder or a sprinter?

Good morning, fellow toiler in the writing vineyard,

We want to talk about speed vs. craft today.
Bill Fox would never brag about it but he was a sprinter.
Bill taught writing at Carolina and wrote stories and books.
You may recall Southern Fried and The Wild Blue Yonder,
Bill inspired many young writers.

He used to visit my Midlands Tech writing classes,
His formula began with turning your monitor to black.
You could not see what you were writing.
Just write the story that’s in your head in one sitting.
Then save it and walk away. Let it marinate.
Come back later when you can be analytical. 
Correct your typos. Kill your darlings.
Read it aloud. Rewrite it, Make your sentences sing. 

The first sprinter I worked with was our city editor.
He called me at the office at 12:30 one morning.
A cargo plane had crashed at the Air Force base.
Jim dictated a perfect 10-sentence story.
His story made the late city edition.
One day I will be able to do what he did, I hoped.
I learned to sprint. To dictate from the scene.

Bll Zinsser admitted he was a plodder.
His On Writing Well is one of our craft’s best books.
As I grow older, I have become a plodder, too.
I have to write the story in my head.
Decide where it begins and where it ends.
Write a sentence. Read it aloud.
Move the words around. Polish them. 
Read it aloud again. Then move on to the next sentence.

It does not matter if you are a sprinter or a plodder.
You will face times when you need to sprint.
Breaking news demands it. Learn to do it.
With the luxury of time, you can plod along.
Write. Rewrite. Polish. Make every word count.
Either way is right, depending on the time you have,

Are you a sprinter or a plodder?
What are your own thoughts about this?
Please write to me at JerryBellune@yahoo.com

PS. I was plodding along on Compelling Writing Volume 1
It took more time than I suspected.
It will be available soon.

Hemingway’s 5 Writing Tips

After high school in 1917, Ernest Hemingway tried to join the army.
He was only 17. The army turned him down.
Through an uncle, he landed a job at the Kansas City Star.
Cub reporters were given a style sheet demanding:
Short sentences.
Short paragraphs.
Vigorous English.
Positive, not negative writing.
Eliminate all superfluous words.

Hemingway observed these rules in his novels.
His reporting shows an ability to convey scenes with sparse details.

“At the End of the Ambulance Run” begins:
The night ambulance attendants shuffled down the long, dark corridors at the General Hospital with an inert burden on the stretcher. They turned in at the receiving ward and lifted the unconscious man to the operating table. His hands were calloused. He was unkempt and ragged, a victim of a street brawl.No one knew who he was. A receipt bearing the name of George Anderson for $10 paid on a home out in a little Nebraska town served to identify him.
The surgeon opened the swollen eyelids. The eyes were turned to the left.
“A fracture on the left side of the skull,” he said to the attendants.
“Well, George, you’re not going to finish paying for that home of yours.”

Hemingway was famous for his terse, minimalist style.
He used few adjectives and got straight to the point.

He once told a story in only 6 words:
“For sale: baby shoes, never worn.”

Why would you want to write like this? For starters, readers like it. Writing like this gets to the point. It respects readers’ time and busy lives.

Try it. You may like it.

To get more tips like this, email jerrybellune@yahoo.com about his upcoming book, Compelling Writing and to be added to his writing mailing list.

You can see past writing tips by clicking here.

Your Golden Hour of Discovery

Good writing requires good reading. 
Good writers read good writers. 
Think about what they did. 
How did they get their effects? 
What did they do to move you? 
Read them aloud. 
Listen to the pace and rhythm of their words.

Our colleague Roger Beirne used to retype poetry.
Robert Frost, William Butler Yeats and other poets he admired. 
“I want to feel how their words work,” he said.
Roger developed a lyrical style in his feature writing. 

Read good journalists.
The internet is a boon to all of us. 
We can access almost any newspaper or magazine in the world.
Concentrate on those that encourage good writing. 

Read magazines in print or on the internet.
Look for strong journalism, detailed reporting and vivid writing.

Read the novels of great writers. 
In translation, great writers in other languages teach style.    

Read the Bible. Most of the great writers of literature did.
Ernest Hemingway took book titles from Bible passages.
I prefer the original King James version.
The king’s translators had archaic but poetic styles. 
Choose the version you like from many translations. 
All have much to teach us about language.
Joan Beck of the Chicago Tribune says she reads the Bible every day.
“Those cadences get imprinted in your brain,” she said. 
“You tend to write in those kinds of patterns and rhythms.”

Read at least an hour a day. 
Not just duty reading. 
Devour your own and others’ newspapers and magazines.
Rise early and read for an hour while the rest of your household sleeps. 
Make them Golden Hours of Discovery. 
Note in the backs of your books the passages you may revisit.

Here is my suggested reading list:
Journalists: Joan Didion, James Agee, Hannah Arendt, Ernie Pyle, Russell Baker, Meyer Berger, Bob Greene, Jimmy Breslin, David Halberstam, Art Buchwald and John McPhee.

Masters of American literature and poetry: Mark Twain, Herman Melville, Annie Dillard, Robert Frost. Emily Dickinson, Carl Sandburg, John Steinbeck and Ernest Hemingway. 

Modern fiction: Robert B. Parker’s Spencer novels for crisp dialogue, Stuart Woods for his fast-paced plots, and James Lee Burke for his imagery.

Specific Selections:
The Red Badge of Courage by Stephen Crane. 
The Right Stuff by Tom Wolfe
Growing Up by Russell Baker.
In Cold Blood by Truman Capote. 
Only in America by Harry Golden.
On the Road by Charles Kuralt (his TV scripts). 
Slouching Toward Bethlehem by Joan Didion.
Midnight in the Garden of Good and Evil by John Berendt.

Did you enjoy learning from this?
There’s much more in Compelling Writing.
E-copies are available for $10.
Just email jerrybellune@yahoo.com

Sell stories to more readers

To attract readers, carefully choose your headline and lead sentence words.
Advertising copywriters like legendary Claude Hopkins measured response.
This helped them appeal to people who want or need what they offer.
The same principle holds true to news and sports writing.
To attract readers, entice them with your words.
The Washington Post has pulled this off by combining serious journalism with stories that appeal to the heart. A couple of examples:Orphaned boy moved to his grandparents’ home
Now the homeowners association would kick him out

After his parents died, teenager Collin Clabaugh moved to Prescott, Ariz., to live with his grandparents.

Police thought her husband died from a fall
Then his wife admitted to poisoning him

Lana Sue Clayton claimed that she didn’t mean to kill her husband when she poisoned his drinking water.
The Post uses classic 2-sentence headlines and alluring lead sentences. 
You can see why this technique attracts readers.

Here are a couple of examples of how we can do this.
There’s nothing wrong with the original headline and lead on our site.

The Original:

$1 million lottery ticket sold in Lexington
A Lexington Powerball player is holding a $1 million ticket. It was bought at the Stop N Shop at 1104 N. Lake Dr. in Lexington for Wednesday night’s drawing.
Read more

The Revised:

Do you have the $1 million lottery ticket?
Read on, you may be holding it

The state lottery winning $1 million ticket was bought at the Stop N Shop at 1104 N. Lake Dr. in Lexington for Wednesday night’s drawing.
 Check your ticket as the winning numbers are… 
Read more

The Original:

Dutch Fork hands Lexington boys 1st loss
Gilbert boys win 1st game of season

A 9-game winning streak in Region 5-5A ended Tuesday in Irmo for the Lexington boys’ basketball team. 
The Wildcats were defeated 45-38 by 7th ranked Dutch Fork. 
Read more

The Revised:

Lexington loses heartbreaker to Dutch Fork
Gilbert boys win their 1st game of season

Lexington’s 9-game Region 5-5A winning streak ended Tuesday in Irmo as 7th ranked Dutch Fork won 45-38. 
Read more  Choosing emotional words like “heartbreaker” and naming 3 schools in the 2-sentence headline will draw readers who are fans of all 3 teams.
Of course, we can do this with our print stories, too.

Give it a try. With practice, it becomes a natural way for you to write.

For more tips like this, write JerryBellune@yahoo.com

Pump up your prose

Are you old enough to remember Charles Atlas?
It was probably not the name his family gave him but an apt pseudonym for a man who marketed a muscle-building program he called “Dynamic Tension.”
Without weights or other traditional gym equipment, he turned his 90-pound weakling body into a model of muscular magnificence.
I tell you this story as a metaphor for what you might do with the words you choose, those you discard and the results you get.
With this small volume, you will be encouraged to be ruthless with your prose.
Here are several examples of how a few simple, muscular words can touch emotions and reveal visions far better than long passages, no matter how eloquent.
Martin Luther King, Jr., with a lifetime in the pulpit, used 4 words powerfully again and again during his speech at the Lincoln Memorial. As former Times of London editor Harold Evans wrote in Do I Make Myself Clear, Rev. King invoked the cadences of the Old and New Testaments, “I have a dream.”
Abraham Lincoln stirred listeners at the Gettysburg battlegrounds with words today’s Washington bureaucrats seem to have forgotten, “Government of the people, by the people, for the people.”
While waiting for the isolationist United States to join World War II, British Prime Minister Winston Churchill promised America and his own people, “We shall not fail or falter. We shall not weaken or tire.” Then he finished a broadcast heard on both sides of the Atlantic and on Nazi radios, too, with 10 taut words of appeal to America: ”Give us the tools and we will finish the job.”
This is not literary elegance. It is workmanlike. No tears/ No whining.
Not a single wasted word, Evans writes.
Can we pare down our words? You bet. Make your surviving words stronger by paring away weaker ones surrounding them.
Here is an example from a 31-word news story lead, written and edited by professionals at the Washington Post. They should have been mindful of the simple power of words from King, Lincoln and Churchill.
Newly released data from the Drug Enforcement Administration shows a trend in pill distribution that, according to plaintiffs suing the drug industry, can’t be passed off as reasonable therapeutic medical treatment.
Still puzzling that one out? Me, too.
Here is what I suspect they meant to convey to their readers:
Physician pill-pushing can’t be passed off as reasonable pain relief.
That’s what Drug Enforcement Administration data shows and lawsuits against the drug industry claim.
2 paragraphs, 25 simple words, 5 beginning with the letter “p.”
The longest one, “Administration,” has 5 syllables and 14 letters. It was unavoidable in this case as it is in the proper name of the data’s source.
Look at your words. How many can you cut to strengthen the survivors?

Anecdotal lede: Watch for mushroom clouds

I confess to being an advocate of storytelling.
I also favor the anecdotal lede – with caution.
I once taught this to my Seton Hall students, tongue in cheek.
The story is about a Russian nuclear attack:

Mary Jones went to retrieve the morning paper and guess what?
A giant mushroom cloud hung over her neighborhood.
She wondered if it was going to rain.

You may have to overlook my warped sense of humor.

Our friend Denny Hatch is an ace copywriter.
He cautions us to use this technique with grace and style. 
He certainly doesn’t want us to beat it into chopped liver.

“Your 1st 10 words are more important than the next 10,000,” he writes.
“All writers are in the business of selling. 
“Your single objective is to sell the reader in going on to the next sentence, next paragraph, all the way to the end.” 
This is true of every literary form – letter, article or advertisement. 

“The place to start selling is the lede
“What’s a lede
“The introduction to a news article, the first sentence. 
“The ‘lede’ is a deliberate misspelling of ‘lead.’ 
When printing was done with lead type, it prevented confusion.
The lede not only tells what the story is about.
It invites the reader to read further.

Denny believes many of us start by:
• Clearing our throats.
• Rolling up our sleeves.
• Rubbing our hands together.
By then our poor readers have already gone on to Page 2. 
Create a lousy lede and chances are the reader will go no further.

In “Capitol Weekly,” Will Shuck wrote:
“I am sick to death of the anecdotal lede, that annoying habit of news writers to start a straightforward story by painting a quaint little picture.
“If the story is about a bill requiring pet owners to spay or neuter their dogs (just to pick an imaginary example), the anecdotal lead first tells us how much Janey Johnson loves Missy, her cocker spaniel.
“No doubt Janey and Missy are a lovely pair, but a lot of us have jobs and kids and commutes and precious little time to muse about Missy’s reproductive potential.”

My humble advice is to use the anecdotal lede when it makes sense.
Have an exceptionally good one to open your story.
Take a hint from that fabled novelist Snoopy.
He always opened with “It was a dark and stormy night …”
Mine might open with an early morning mushroom cloud.
Pick your own poison.

Advance orders for my $19.99 “Little Red Book of Compelling Writing” are going at a $10 discount – only $9.99.
Get your order in for the eBook today. It will be out in July.
Call Katie at 803-359-7633 or email me at JerryBellune@yahoo.com

What we can learn from weather forecasters

Good morning, fellow scribblers.

This may sound like a weird formula for
successful writing and communication but
think about what TV weather forecasters do:

In a 90-second forecast they:
1. Explain what will happen.
2. Compare it to what has happened.
3. Advise what you can do about it.
4. Use visual aids to help them.

90 seconds isn’t a lot of time.
It’s 225 words to the rest of us
That’s 9″ of type in many newspapers.
It’s 75% of a written letter page.
It’s 9 times longer than a classified ad.
And a classified ad must sell something.

TV forecasters know they talk to:
1. General viewers who don’t want much.
Will it be hot, cold or rainy tomorrow?
That’s all they’re interested in.
2. Weather freaks who want everything.
They are addicted to it.
3. Fellow experts and climatologists.
These people know if they fake it.
They must satisfy all 3 groups.

Let’s apply that to what we do.

Our readers are the ones who:
1. Want to know what happened.
How does it affect my life?
What should I do if it does?
2. Are news junkies.
They are addicted to news.
They read us cover to cover.
3. Those in the story.
They know what happened.
Or they think they do.
They are checking our accuracy.

Here’s a checklist you might
post beside your computer:

1. How does what I’m writing
affect or interest my readers?
Does it affect their taxes or costs?
Does it affect their family?
Does it affect their well being?

2. How does it affect those involved?
And what can they do about it?

3. Is it factually accurate?
Did we quote sources right?
If we paraphrase what they said,
does it reflect what they meant?

4, How can we illustrate this
with photos, maps, charts, etc.?
Will this improve our readers’
understanding or interest?

You will find tips like this
and others in our new
“Little Red Book of
Compelling Writing.”

Send me 75 to 100 words
about the value of these tips
and we will include them
in the book next spring.

Writing tip: Tell it to Mom

Good morning, fellow scribblers.

4 words can make a huge difference.
When you write, do it like …
… you’re telling it to Mom.

One of our writers had a good story.
She just wasn’t sure how to present it.
She had spent two hours with owners of:
• A “perfectly” restored 218-year-old house.
• 3,000 square foot barn converted to a home.

As her editor, my advice was simple.
Write as if you were telling it to Mom.

Many of us have writing problems.
Me, too, and after all these years.
Writing conversationally is the key.

As fact gatherers, we write like fact gatherers.
The fire that killed 5 comes across as cold.
It reads like a government report.
It needs to be, pardon the expression, warmed up.
It need to be about the lost people, not just the fire.

Some years ago, my son and I visited a friend.
George James had worked with me earlier.
George was a fine writer who cared about people.
He was working at the time as a crime reporter.

He filed a story about a fire with his editors at the NY Times.
The Times prides itself on being a newspaper of record.
It falls a bit short about being a newspaper about people.

George had just written an account of a fire that killed 5 people.
He showed us a printout he sent to the city desk.
It read like a police incident report.
Its 47 words contained who, what, when, where and how.

“George,” I said, “this doesn’t read like your work.”
He nodded and produced another printout
“Here’s what I originally sent,” he said.

It began: “Samuel ___ collected people and furniture.”
It talk about the owner of the building.
It told who else lived and died there.
George had talked with neighbors.
He found the owner furnished it with Salvation Army stuff.
He rented to people who could not afford to pay him.
They weren’t evicted. Samuel ___ had a heart.

The version the city desk rejected was a human story.
We asked George why he would work for such editors.
They obviously had tin ears . . . and no hearts.
“It’s THE New York Times,” he said.
“They usually accept what I write.”
“They pay well, too.”

“Tell it to Mom” is a technique we teach our writers.
It doesn’t have to be a news article.
It could be a sales letter or an advertisement.
The principle applies to whatever you may write.
Make it about people and tell it to Mom.

Think about this:
If you told Mom the story, what would you say?
Would you say “The owner and 4 homeless people were killed in an suspicious apartment house fire in lower Manhattan late Monday night”?
Probably not although that’s what most editors expect.

But you wouldn’t write that if you knew about:
• The big-hearted owner of the building.
• His 4 tenants who could not afford to pay rent.
You might tell Mom something like this:
“Mom, this guy Samuel ___ had a big heart.
“He let people live in his apartment building.
“That was even if they couldn’t pay him rent.
“In a fire last night, he and 4 of them died.”

Tell it to Mom and you can tell it to the world.

Here’s an exercise for you journalists:
Take a news article you have written.
Rewrite it as you would tell it to Mom.
Then boil down the conversational version.
Write short sentences with powerful verbs.
Make Mom see and hear what you saw and heard.

Here another one for you:
Imagine someone from Mars has arrived on earth.
She knows little about us but understands English.
What would she make of your prose?
Could she understand what you writing about?

This helps avoid jargon from police, politicians and others.
They talk in a special code we have learned.
Most of our readers don’t understand it.
Translate. Keep it simple. Help them understand.
By all means, tell it to Mom.