《新闻采编》教案 教学计划:讲授32课时1-16周2节/周 1-5周新闻采访( The nature of news; The art of interviewing,Tobe a successful reporter: Harvesting the news 6-11周新闻写作( The writing process; Getting organized; Story structure the news lead: the rest of the story: The tools of the trade Getting it right; Libel) 12-15周新闻编辑( Ethics; editing) 第一部分:新闻采访 Prewriting The nature of news What is news? Charles a. dana, editor of the New york Sun, once defined it as, "Anything that interest a large part of the community and has never been brought to its attention before. In other words, news is what people are talking about. News is new. As Eve lyn Waugh described it, News is what the chap who doesn t care much about anything wants to read. I. Put another way, news is a change in the status quo. But does a change in the status quo guarantee B that an event is newsworthy? Suppose Philip,a normally reliable 10-year-old, is late for dinner. That may be of consequence in his household, but it is not news. What if he is three hours late for Some of the lesser-known dinner? Then he may be missing and that is news. Then factors that determine his tardiness takes on community import, especially the news are if he has become the victim of foul play. So, as this Prejudice of example illustrates, news is not just a change in the management status quo Pressure from It is a change of consequence in the status quo advertisers Size of paper 2. In a very real sense, news also can be defined as N
《新闻采编》教案 教学计划：讲授 32 课时 1-16 周 2 节/周 1-5 周 新闻采访（The nature of news ;The art of interviewing; To be a successful reporter; Harvesting the news） 6-11 周 新闻写作（The writing process；Getting organized；Story structure ；The news lead； The rest of the story； The tools of the trade ；Getting it right；Libel） 12-15 周 新闻编辑（Ethics；editing） 第一部分：新闻采访 Prewriting The nature of news What is news? Charles A. Dana, editor of the New York Sun, once defined it as, "Anything that interests a large part of the community and has never been brought to its attention before." In other words, news is what people are talking about. News is new. As Evelyn Waugh described it, "News is what the chap who doesn't care much about anything wants to read." 1. Put another way, news is a change in the status quo. But does a change in the status quo guarantee that an event is newsworthy? Suppose Philip, a normally reliable 10-year-old, is late for dinner. That may be of consequence in his household, but it is not news. What if he is three hours late for dinner? Then he may be missing and that is news. Then his tardiness takes on community import, especially if he has become the victim of foul play. So, as this example illustrates, news is not just a change in the status quo. It is a change of consequence in the status quo. 2. In a very real sense, news also can be defined as Some of the lesser-known factors that determine the news are: • Prejudice of management • Pressure from advertisers • Size of paper • N
reporters and editors say it is. They are the gatekeepers allowing the accounts of some events, but not others to reach the reading public. And there are other factors that sometimes can determine whether an event is news. These include the pre judice of the management, the size of the paper, pressure from advertisers and the news hole, or the space allotted to news 3. Still, news professionals agree on at least seven main factors that help them determine if an event has consequence, if it is news. These are a) Impact-How many people does the event affect? Hor seriously does it affect them? b)Proximity-An event will be more important if is closer to the readers. An earthquake in a far-off land is not as interesting as one that is close to e) Timeliness-Is the event fresh? Is it new? The news must be timely to be of use to readers d)Prominence-Names make news, and big names make big news. Ordinary people are intrigued by the doings of the rich and famous e) Novelty--This is the new in news, the unusual. The firsts, lasts and"onlys have been the staples of the news business for many years. f)Conflict-Conflict has been the currency of great literature, drama and movies for all time. From the stories of Shakespeare to those of Disney, conflict has played a crucial role. Newspapers are no different g) Audience-Who is the audience? The answer to that question helps determine whether an event all, and if it is, where it will be played in the
what reporters and editors say it is. They are the gatekeepers, allowing the accounts of some events, but not others, to reach the reading public. And there are other factors that sometimes can determine whether an event is news. These include the prejudice of the management, the size of the paper, pressure from advertisers and the news hole, or the space allotted to news. 3. Still, news professionals agree on at least seven main factors that help them determine if an event has consequence, if it is news. These are: a) Impact—How many people does the event affect? How seriously does it affect them? b) Proximity—An event will be more important if is closer to the readers. An earthquake in a far-off land is not as interesting as one that is close to home. c) Timeliness—Is the event fresh? Is it new? The news must be timely to be of use to readers. d) Prominence—Names make news, and big names make big news. Ordinary people are intrigued by the doings of the rich and famous. e) Novelty—This is the new in news, the unusual. The "firsts," "lasts" and "onlys" have been the staples of the news business for many years. f) Conflict—Conflict has been the currency of great literature, drama and movies for all time. From the stories of Shakespeare to those of Disney, conflict has played a crucial role. Newspapers are no different. g) Audience—Who is the audience? The answer to that question helps determine whether an event is news at all, and if it is, where it will be played in the
paper. Prewriting The art of interviewing-part 1 There are three ways to gather information for your story--research, observation and interviewing. Of these interviewing is clearly the most important. It can be done in person, over the phone and now even by e-mail. It can be extensive or just a few questions. In whatever form, it is the key to the stories you write. Your ability to talk to people is the difference between being a mediocre reporter and a good one 1. Be prepared An interviewer once asked Vivian Leigh what part she played in the movie, Gone With the Wind Leigh ended the interview before it started Contrast that with the interview A.J. Liebling had with jockey Eddie Arcaro Liebling began the interview by asking arcaro why his left stirrup was longer than his right. One got a good interview, the other didn't. One was prepared, the other wasn't 2. Preparation allows you to ask good questions and During the interview: signals your subject that you are not to be dismissed Look your lightly. Read all that is available Talk to those who know subject in the eye the subject. As writer Tom Rosenstiel said, "A common sit forward in ingredient of the superb interview your chair is a knowledge of the subject so thorough that it creates a Respond to kind nswers of intimacy between the journalist and the interviewee with a nod Listen carefully 3. What is the tenta tive theme for your story and how mile will this interview fit that theme? when you have answered those questions, prepare a list of questions. The best way to have a spontaneous conversation is to have questions ready. That way you can relax, knowing that you will not miss an important topic 4. Phrase your questions in a neutral way. Not: Don't you agree that this speaker should be banned from campus? Mix open-ended questions, such as, Tell me about your love for antique cars, "with closed-ended ones, such as, "How old are you? The closed-ended ones elicit basic information; the
paper. Prewriting The art of interviewing—part 1 There are three ways to gather information for your story—research, observation and interviewing. Of these, interviewing is clearly the most important. It can be done in person, over the phone, and now even by e-mail. It can be extensive or just a few questions. In whatever form, it is the key to the stories you write. Your ability to talk to people is the difference between being a mediocre reporter and a good one. 1. Be prepared.An interviewer once asked Vivian Leigh what part she played in the movie, Gone With the Wind. Leigh ended the interview before it started. Contrast that with the interview A.J. Liebling had with jockey Eddie Arcaro. Liebling began the interview by asking Arcaro why his left stirrup was longer than his right. One got a good interview, the other didn't. One was prepared, the other wasn't. 2. Preparation allows you to ask good questions and signals your subject that you are not to be dismissed lightly. Read all that is available. Talk to those who know the subject. As writer Tom Rosenstiel said, "A common ingredient of the superb interview is a knowledge of the subject so thorough that it creates a kind of intimacy between the journalist and the interviewee." 3. What is the tentative theme for your story and how will this interview fit that theme? When you have answered those questions, prepare a list of questions. The best way to have a spontaneous conversation is to have questions ready. That way you can relax, knowing that you will not miss an important topic. 4. Phrase your questions in a neutral way. Not: Don't you agree that this speaker should be banned from campus? Mix open-ended questions, such as, "Tell me about your love for antique cars," with closed-ended ones, such as, "How old are you?" The closed-ended ones elicit basic information; the During the interview: • Look your subject in the eye • Sit forward in your chair • Respond to answers with a nod • Listen carefully • Smile
open-ended allow the interviewee to reveal information or feelings that you did not anticipate 5. Decide how you will dress. You would dress differently for a hockey player than for the mayor. Ask yourself, how will my sub ject be dressed? Avoid anything in your dress or grooming that could be considered impertinent, flashy sloppy or rebellious 6. Think of your mee ting with the subject as a structured but friendly conversation not an interview. As writ Studs Terkel said, " I realized quite early in this ad venture that interviews conventionally conducted were meaningless The question-and-answer technique may be of value in determining favored detergent, but not in the discovery of men and women. It was simply a case of making conversation and listening. 7. Try to establish a rapport with the person early on You may want to wait a bit before pulling your notebook out This meeting stage may determine how the rest of the interview will go. Do you share a common interest or friend? If so. mention that 8. Look the subject in the eye and listen carefully to his/her answers. Be sure to smile. A smile, they say, is lubrication for the words and collaborator of the eyes in contact. a smile helps both you and your subject relax 9. When the source is speaking, nod or make some verbal remark to show you are listening and understand. Sit on the edge of your chair and lean forward. This is a posture that projects an eager, positive attitude 10. Observe and record the person's body language, mannerisms, dress, physical features, distinctive characteristics and interactions with others. These allow you to paint a word picture for your reader and may reveal something that is not being said. Observe and record the sights and sounds of the surroundings. Take good notes during the interview in a handwriting you will be able to read later. Take too many notes rather than too few
open-ended allow the interviewee to reveal information or feelings that you did not anticipate. 5. Decide how you will dress. You would dress differently for a hockey player than for the mayor. Ask yourself, how will my subject be dressed? Avoid anything in your dress or grooming that could be considered impertinent, flashy, sloppy or rebellious. 6. Think of your meeting with the subject as a structured but friendly conversation, not an interview. As writer Studs Terkel said, "I realized quite early in this adventure that interviews conventionally conducted were meaningless. The question-and-answer technique may be of value in determining favored detergent, but not in the discovery of men and women. It was simply a case of making conversation and listening." 7. Try to establish a rapport with the person early on. You may want to wait a bit before pulling your notebook out. This meeting stage may determine how the rest of the interview will go. Do you share a common interest or friend? If so, mention that. 8. Look the subject in the eye and listen carefully to his/her answers. Be sure to smile. A smile, they say, is lubrication for the words and collaborator of the eyes in contact. A smile helps both you and your subject relax. 9. When the source is speaking, nod or make some verbal remark to show you are listening and understand. Sit on the edge of your chair and lean forward. This is a posture that projects an eager, positive attitude. 10. Observe and record the person's body language, mannerisms, dress, physical features, distinctive characteristics and interactions with others. These allow you to paint a word picture for your reader and may reveal something that is not being said. Observe and record the sights and sounds of the surroundings. Take good notes during the interview in a handwriting you will be able to read later. Take too many notes rather than too few
The art of interviewing-part 2 Focus on what the source is saying, not on what you will ask next. Your next question will be better if you heard the answer to the last one. Listen critically. Do you understand what the source is saying. If not, ask the source to repeat or explain. Listen for what isnt said. Is the source avoiding opic? 12. Dont interrupt, don ask long questions, dont talk too much, dont challenge too early in the conversation. You're there to hear opinions, not offer them. Nevertheless, it can help to build rapport if you reveal something of yourself. Off your own thoughts or observations, but sprinkle lightl 3. Control your physical actions and mental attitude. If the subject senses that you disapprove of him or his opinions, the interview is doomed. If the sub ject wants to take you on a tour of her home office, factory, garden, etc, accept the offer and record what you see. The interviewer strives to learn the 14. Begin with easy questions, perhaps biographical'actual reality ones. Ask for examples or anecdotes. Use the list of Not just the questions you have prepared and return to it reportable reality frequently. As Anthony deCurtis, the subject freely former editor of Rolling Stone, said,"Interviewing shares is a lot like talking, but you have to guide Or the ' private conversation. You have to reality that is know what you want and go about getting it. shared but off-the-record 15. If the subject takes the interview in an unexpected direction, go with her/him. But remember, you are in charge of the interview. Make sure you accomplish your goals and be assertive if necessary. Stop after one hour. Be alert to the fact that the best material sometimes comes when you have reached the end and thanked the sub ject for their cooperation. Be sure to ask what the future holds. 16. Make accuracy your goal. Be sure your quotes are accurate. If not, paraphrase. Ask for correct
The art of interviewing—part 2 11. Focus on what the source is saying, not on what you will ask next. Your next question will be better if you heard the answer to the last one. Listen critically. Do you understand what the source is saying. If not, ask the source to repeat or explain. Listen for what isn't said. Is the source avoiding a topic? 12. Don't interrupt, don't ask long questions, don't talk too much, don't challenge too early in the conversation. You're there to hear opinions, not offer them. Nevertheless, it can help to build rapport if you reveal something of yourself. Offer your own thoughts or observations, but sprinkle lightly. 13.Control your physical actions and mental attitude. If the subject senses that you disapprove of him or his opinions, the interview is doomed. If the subject wants to take you on a tour of her home, office, factory, garden, etc., accept the offer and record what you see. 14. Begin with easy questions, perhaps biographical ones. Ask for examples or anecdotes. Use the list of questions you have prepared and return to it frequently. As Anthony deCurtis, former editor of Rolling Stone, said, "Interviewing is a lot like talking, but you have to guide the conversation. You have to know what you want and go about getting it." 15. If the subject takes the interview in an unexpected direction, go with her/him. But remember, you are in charge of the interview. Make sure you accomplish your goals and be assertive if necessary. Stop after one hour. Be alert to the fact that the best material sometimes comes when you have reached the end and thanked the subject for their cooperation. Be sure to ask what the future holds. 16. Make accuracy your goal. Be sure your quotes are accurate. If not, paraphrase. Ask for correct The interviewer strives to learn the 'actual reality': • Not just the 'reportable reality' the subject freely shares • Or the 'private reality' that is shared but off-the-record