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Associated Press Reporting Handbook

Associated Press Reporting Handbook. Profiles Chapter 6. An Elderly Woman and the Confounding Gift of Sight A Story by Helen O’Neill. Relationship is the name of the game. Listening is the most important thing you can do. Most people just want someone to “listen.”

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Associated Press Reporting Handbook

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  1. Associated PressReporting Handbook Profiles Chapter 6

  2. An Elderly Woman and the Confounding Gift of SightA Story by Helen O’Neill • Relationship is the name of the game. Listening is the most important thing you can do. • Most people just want someone to “listen.” • Reporting begins and ends with listening. • Writing is a constant process of listening. • Listening to Eva Suggs was not easy.

  3. Wearing Purple • How did Eva’s desire for a “purple” world grab you? • Although there are only about a dozen quotes from Eva, do you feel O’Neill captured enough of her personality in this story? • Can you sense the anguish Eva feels now that the world expects more from her? She can see now, but she had been blind from birth.

  4. Coming late in life, Eva’s gift from God (eyesight) seems to have an ironic side. How does O’Neill handle this? • From Eva’s situation do you feel mostly despair or hope? • Did the “God” conversation between Eva and her friend remind you of anything? • What does “Beauty’s” presence tell us?

  5. Getting the Story • Is it Eva Suggs’ unique situation, or universal situation, that makes her a story? • Does her story tell us anything about the Garden of Eden? • During the first phone call, O’Neill was discouraged. “There’s all this stuff in there ...” What does she mean? • What was O’Neill’s “challenge”?

  6. What was O’Neill’s approach to learning what it’s like to be blind? • What is the difference between writing with sympathy and with empathy? • Why was it not necessary to quote “Brunson” in the story? • How is she part of the story, anyway? • Where does Tony Talbot fit in?

  7. O’Neill spent a great deal of time with Eva, but she also spent time with her granddaughter Michelle. What’s up with that? • What is the word O’Neill uses in place of interview? • What about her list of questions? • While establishing trust, what is one thing she suggests?

  8. And, what about note taking? • When does the writing get done? • She shows a great deal of concern for her subjects -- how they’re depicted. • What “evident” good did O’Neill’s work accomplish for Eva Suggs’ family? • What do you think is meant by “archeological” effort put forth by O’Neill?

  9. Associated Press Reporting Handbook The Art of the Sit-Down Interview Chapter 7

  10. Jane Fonda Talks, and Talks Some MoreBy HILLEL ITALIE • How does the lead of the story fit the image of Jane Fonda’s lifestyle that emerges in the story? • Is the description of Fonda “adequate”? • By the time I turned the first page, I was already exhausted from all the workouts. • What does Jane feel exercise helps her do?

  11. How did Fonda feel about getting into character for a film? • So, where’s her heart today? • What are some of the aspects of Fonda’s personality that come out in how the story is written? • What inspired her to continue doing workout tapes?

  12. Why do men, according to Fonda, avoid workout tapes? • What type of feminist view do you get of Fonda? • How does the writing help give you that view? • Does Ted do videos?

  13. The Interview • Hillel Italie did not have days to shadow Fonda for an in-depth story. He had just an hour. • How did this affect his story? • These “quick” interviews can produce shallow writing. • What does Italie do to make his more in-depth?

  14. “I’ve known many famous people, but they didn’t know me.” • “If you go there wanting to be their friend, you’re in trouble.” • Were Italie and Fonda strangers? • He wasn’t supposed to ask questions about politics or movies. How did he get all that information?

  15. You don’t save your toughest question for last, you save it for the right moment. • There’s no real “list” of questions. • Public people lie about private lives constantly. • The closer you get to their work, the more likely they are to tell the truth. • There are no bad interview subjects.

  16. Most subjects pegged as bad interviews, are just people who won’t put up with stupid questions. • Research is half your job as an interviewer. • Ask your questions. • Listen. • Be fair, helpful and honest.

  17. THE END

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