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When someone who really knows how to write gets angry, he/she might tend to write it out. Some even send what they wrote, as Jack Shafer found. It probably feels good at the time.

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Lt. Schwenk
In a nearly 112-years-overdue, story-length correction, James Barron of the New York Times uncovers an impressive amount of detail about numerous errors the Times and others made in accounts of one man’s life, including in his obituary, and the mystery surrounding some of the facts in those accounts. But the real mystery to me is this: Why is this story more engaging than almost anything else I’ve seen in the Times in recent times? Is it merely the lure of a mystery? Or is it the look into the kind of details about a person’s life that we don’t usually get in the typical story — that I would have read all the way through a story about a modern person if it were like this?

The Bristol Herald-Courier has been treading some similar ground recently with stories about unsolved murders (the first was about a nurse’s death in Chilhowie, Va., and just this past weekend there was a three-parter, Outlaws or Inlaws). Murder mysteries have proven appeal, but is it the mystery or the people that draws an audience?

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Ben LaMothe poses a question on the 10,000 Words blog about engaging your audience on social-media channels, and I can’t help but notice it’s basically the same question that applies to any medium:

“Why people should follow you, read your updates, add you as a Fan or Friend, or care at all about your existence online? What’s in it for them?”

The key part: What’s in it for them?

What I always tell writers they need to answer up high in a story: Why should the reader care? It’s the same thing. If you don’t give people a reason to pay attention to you, they won’t pay attention. What do you have to offer that’s relevant to the people in your target audience? “News” is a category of answers to the question, not a sufficient answer in itself.

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(Originally posted July 6, 2010)

A former newspaper publisher with a background as a reporter and editor has a common complaint about a recent story on an emotional meeting he attended: The reporter’s account of the meeting was dry as dirt. He doesn’t link to the story or identify the newspaper, so we can’t tell exactly how much the story failed to capture the meeting, but what he describes is absolutely commonplace, and not just in stories about meetings. Just last week, while thumbing through a stack of various MG papers, I saw a story about a public hearing on a topic that was stirring local residents’ emotions. At least, that was implied. The story did not show that. There was nothing to provide a reader the sense of what it was like to be in that room. Not only that, all the highest quotes in the story came from elected officials. Members of the public, the majority of those who spoke at the hearing, were relegated to the bottom of the story.

One of the important things any story should do is answer the question “What was it like?” (or, if the story is about a person, “What is he/she like?”), and one of the cardinal rules about stories that involve regular people to get the regular people high up and the talking heads (politicians, or anyone likely to talk at length without saying anything, or anything that isn’t predictable) down low, or out entirely. As writing coaches often say, how would you tell the story in person to your mother, or a friend? If you think about your story like that, you’re less likely to fall into a formulaic, official-sounding presentation.

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