"There are some stories TV can't do"

NDTV anchor Sunetra Choudhury's "After the Break" column in DNA on Saturdays usually provides food for thought. Today was no exception.

Headlined "Crimes 'unfit' for TV", Choudhury's column puts the spotlight on a major difference between television and print — there are some stories that TV can't do. In fact, the article begins with that admission before revealing the nature of the "crime":

For the past couple of weeks, I’ve been pursuing this story that involves sexual harassment, courts and lawyers and at the end of this period, that’s the frustrating conclusion I am left with.

We then learn details of the many sordid cases that have led to women lawyers moving the Supreme Court to end harassment in our courts.

Conversations with women lawyers reveal how deep-rooted the problem is. Senior advocate Kamini Jaiswal told me several instances where no action was taken despite complaints. “The junior lawyer who comes to a senior’s chamber is very vulnerable,” said Jaiswal, “She is very young and it is difficult for her to even raise her voice. If she complains against a respected, senior lawyer, who will believe her? Her entire career is at stake.” Jaiswal, who was the only lawyer who didn’t mind being quoted, told me how judges were inaccessible for junior lawyers, especially because they were friendly with the senior ones. Do all women lawyers go through this, I asked. “Many of them do,” she said.

Choudhury, though, does not elaborate on why this case won't work as a news story on television. If you ask me, I would say there are at least two reasons for this:

1. It would be difficult, if not impossible, to get people to speak on camera.
2. TV news relies heavily on "dramatic" visuals, which are unobtainable here. "Re-enactment" is possible, but then the whole story would be one long episode featuring actors, and that won't do.

Perhaps journalists, especially those working with our news channels, would like to add their comments.

You can read Sunetra Choudhury's column in its entirety here: "Crimes 'unfit' for TV". And you can check out her previous columns here.

• Illustration courtesy: Ravi Jadhav/DNA.

Is there a secret to writing effective e-mails, letters, reports, and proposals?

Yes, there is, says Richard Nordquist, an American professor emeritus of rhetoric and English and the author of two grammar and composition textbooks for college students. Writing on his blog on About.com, where he has served as the Guide to Grammar and Composition since 2006, Nordquist provides his top 10 editing tips for business writers:

• Adopt the "you attitude".
• Focus on the real subject.
• Write actively, not passively.
• Cut unnecessary words and phrases.
• But don't leave out key words.
• And don't forget your manners.
• Avoid outdated expressions.
• Put a cap on the buzzwords.
• Unstack your modifiers.
• And, of course, proofread.

Each tip comes with an example.

Here, for instance, is the example provided with the admonition to avoid outdated expressions.

Draft: Attached herein for your reference is a duplicated version of the aforementioned deed.
Revision: I have enclosed a copy of the deed.

As for putting a cap on buzzwords, you will understand immediately what does not work when you read Nordquist's example:

Draft: At the end of the day the bottom line is that we should facilitate opportunities for employees to provide input on best practices.
Revision: Let's encourage people to make suggestions.

Read the post in its entirety here: "Top Ten Editing Tips for Business Writers".

And while you're at it, study Nordquist's Top 10 Proofreading Tips, too.

• Additional reading: "Bad grammar, poor punctuation: a sure recipe for disaster at your workplace".

When to choose good writing over good grammar

In 100 Ways to Improve Your Writing (a slim but valuable book which I purchased for a mere Rs.263 on Flipkart this week), Gary Provost makes a convincing case for choosing good writing over good grammar:

"It is my objective to utilize my management expertise more fully, than has heretofore been the case" is acceptable grammar but poor writing because it is poor communication. The sentence should read, "I'm looking for a better job."

On the other hand, "I ain't got no money" is terrible grammar but could be good writing in some context by communicating exactly what the writer wants to communicate.

There are many writing situations, Provost asserts, in which inferior grammar makes for superior writing, and he provides an appropriate example from a comic novel.

You could also use poor grammar, Provost tells us, in an essay or opinion piece to establish a certain tone:

"Marvin Hagler and Ray Leonard go at each other tonight in the Centrum, and it ain't going to be pretty."

So, yes, it may be okay to use poor grammar deliberately, but, Provost warns, whenever you knowingly use poor grammar, you should ask yourself two questions.

The first: Is my meaning clear? If the answer is no, rewrite.

The second question: What am I getting in return for the poor grammar? If you can't answer that, don't use poor grammar.

That is great advice. I also love what Provost has to say towards the end of this passage (which is part of Rule No. 10: Prefer Good Writing to Good Grammar in the chapter titled "Ten Ways to Avoid Grammatical Errors"):

Never violate a rule of grammar unless you have a good reason, one that improves the writing.

But never choose good grammar over good writing.

I have read many, many books on writing and grammar but this is the first time I have come across such wise words with respect to both writing and grammar.

100 Ways to Improve Your Writing, in addition to the excerpts presented above, has much to recommend it. And I endorse it wholeheartedly.

***
UPDATE (June 7, 2014)

"This is a must-read for all freshers"

By Ankita Pareek, Class of 2016

A big thank you for suggesting this book to me.

ANKITA PAREEK

I never knew a book could answer all my queries related to writing (even the ones I thought were stupid and cannot be asked). From explaining what to write and when, and also where and how, the book covers it all.

I am glad I read this book. I now have the confidence to write and have also started realising my mistakes and rectifying them. This should be a must-read for all the freshers like me who aim to be writers but are unaware of the basics of writing.

There is one section in the book which I thought was brilliant, "Eleven ways to make people like what you read". I have written a lot of poems but I've never had the courage to make people read them as I always hated the thought of getting a "critical view". But now it's not the same; I finally showed my work to a few people and they didn't really criticise what I had written but, to the contrary, they made me aware of my mistakes. I have already started writing more poems now.

I guess I now understand what you actually mean when you say "You have to be a good reader to be a good writer". Thank you once again!

***
ADDITIONAL READING:

• "V.S. Naipaul's advice for beginner writers"

• "How to avoid being a grammar goof"

• "Bad grammar, poor punctuation: a sure recipe for disaster at your workplace"

• "Want to learn how to write a sentence? (Who doesn’t?)"

• "In one place, everything you need to know about writing in English"

How a great cartoonist does what he does

Did you know each cartoonist who freelances with The New Yorker, that storied magazine founded by Harold Ross in 1925, is required to submit 10 panels a week for consideration (nine of which typically get rejected)?

How do they do it? How do they come up with so many original jokes?

Well, thanks to Jeff Bercovici of Forbes, we know how one great cartoonist does it. In an interview with Matthew Diffee, who draws cartoons for The New Yorker and other media organisations, Bercovici draws out the essence of a cartoonist's light-bulb moment. We learn that Diffee parks himself at a table for the first hour or two of each day — however long it takes him to drink an entire pot of coffee — and forces himself to free-associate on a blank sheet of paper. That means writing, not drawing:

Diffee says his cartoons always start with words, not images. Typically, he’ll take a phrase that’s lodged in his mind and tweak it this way and that until he comes up with something funny or hits a mental dead end. By the time he fills up the paper, he usually has at least a couple workable ideas.

Here is a Diffee cartoon from a recent issue of The New Yorker:

“I’m sorry, Paige, but grades are based on the quality of the writing, not on your Klout score.”

Diffee also demonstrates how he does what he does in a brief (less than five minutes) video interview with Bercovici:

You can read the Forbes interview here: "New Yorker Cartoonist Matthew Diffee Shows How To Be Creative".

And take a look at a collection of New Yorker cartoons here.

• Additional reading: An insight into the ingredients of great writing from The New Yorker.

• Also read: "A man whose genius for cartooning matches his flair for wit" and "Hadi Farahani, the most brilliant illustrator and cartoonist I have met".

• Plus, meet the R.K. Laxman of England, Matt of The Daily Telegraph: "There’s no cartoonist like Matt. With his sharp humour and kind touch, he expertly captures the absurdities of everyday life. No wonder our readers start the day with a smile" — A tribute by Mick Brown.

"We get 40,564 emails per minute from people who want to be interns, and 40,553 of them are deleted before we've finished reading them."

That is obviously a wild exaggeration by Seattle newspaper editor Christopher Frizzelle, but the point is well made. If your subject line has typos, if your cover note is badly written, if you don't know how to spell the name of the publication you're applying to — bam!

So, first off, would you like some tips on how to write a cover note? Then Frizzelle is your man. Culling advice he has provided in a book co-authored by him, he suggests that if you really want a job in writing...

...you should just start writing — and publishing. Get a blog and make it good. Make it so good that an editor who reads it will be so jealous you're not writing for them that they'll hire you. Once you already have your own writing underway, sure, apply for an internship at the place you want to work. But make sure your cover letter doesn't make whomever ends up reading it want to die of embarrassment.

And then come a few tips (but not all — for that you will have to buy the book).

One important tip: "Cool it on the superlatives." To find out why, read Frizzelle's post here.

How is straightforward news coverage in a daily newspaper different from the content on the editorial and Op-Ed pages? How does a review differ from an editorial? Who is an Op-Ed contributor?

And other important questions that readers (must) have.

If such are the questions readers have, then the New York Times, one of the world's greatest newspapers, has the answers in the form of a very thoughtful Readers' Guide:

In its daily news pages, The Times presents both straightforward news coverage and other journalistic forms that provide additional perspective on events. These special forms — news analysis articles, columns and others — adhere to standards different from those of the editorial and Op-Ed pages. The news and editorial departments do not coordinate coverage and maintain a strict separation in staff and management.

All articles, columns, editorials and contributions in the newspaper are subject to the same requirements of factual accuracy.

This is followed by "descriptions of the various forms".

Excerpts:

IN THE DAILY NEWS SECTIONS

• News Analysis: A close examination of the ramifications of an important news situation. It includes thorough reporting, but also draws heavily on the expertise of the writer. The article helps the reader understand underlying causes or possible consequences of a news event, but does not reflect the writer's personal opinion.
• Appraisal: A broad evaluation, generally by a critic or a specialized writer, of the career and work of a major figure who has died. The article often accompanies the obituary.
• Review: A specialized critic's appraisal of works of creativity — movies, books, restaurants, fashion collections. Unlike other feature writers, critics are expected to render opinions in their areas of expertise.

IN THE OPINION PAGES

• Editorial: A sharply written, generally brief article about any issue of public interest. Editorials are written by the editorial board of The Times, which includes the editorial page editor, the deputy and assistant editors, and a group of writers with expertise in a variety of fields. While the writers' opinions are of great importance, the editorials also reflect the longtime core beliefs of the page. Unlike the editors of the news sections, the editorial page editor not only reports to the publisher, but consults with him on the page's positions. Editorials are based on reporting, often original and in-depth, but they are not intended to give a balanced look at both sides of a debate. Rather, they offer clear opinion and distinct positions.
• Op-Ed Column: An essay by a columnist on the staff of The Times, reflecting the opinions of the writer on any topic. Columnists are expected to do original reporting. Some travel extensively. Op-Ed columns are edited only for style and usage, not for content. Columnists do not submit their topics for approval, and are free to agree or disagree with editorial positions.
• Op-Ed Contribution: An article by a person not on the staff of The Times, reflecting opinions about a topic on which the author is an expert or has provocative and well-reasoned ideas. These articles, most of which are solicited by the editors, are not intended to reflect the positions of the editorial board. Indeed, the Op-Ed page is seen as a forum to air diverse and challenging viewpoints.

Study the Readers' Guide in its entirety here.

WHY YOU SHOULD READ MINT'S CODE OF CONDUCT
As far as I know there are not many newspapers in India that make it easy for readers to grasp the finer nuances of journalistic terms. Of the ones that do, Mint has possibly the most comprehensive Code of Conduct. The Code explains, among other things, the newspaper's journalistic standards and discusses in detail the rules Mint journalists follow when it comes to attribution, quotations, the use of anonymous sources, and the use of graphics and images.

Under the rubric "Attribution", we learn the definitions of, for instance,"on the record", "off the record", and "deep background" (those who have watched All the President's Men will be able to link "deep background" with Deep Throat).

There will be many readers, by the way, who may be surprised to learn that Mint has very strict rules against altering or manipulating the content of a photograph in any way:

The content of a photograph must not be altered in PhotoShop or by any other means. No element should be digitally added to or subtracted from any photograph. The faces or identities of individuals must not be obscured by PhotoShop or any other editing tool. Only retouching or the use of the cloning tool to eliminate dust and scratches are acceptable.

Minor adjustments in PhotoShop are acceptable. These include cropping, dodging and burning, conversion into grayscale, and normal toning and color adjustments that should be limited to those minimally necessary for clear and accurate reproduction (analogous to the burning and dodging often used in darkroom processing of images) and that restore the authentic nature of the photograph. Changes in density, contrast, color and saturation levels that substantially alter the original scene are not acceptable. Backgrounds should not be digitally blurred or eliminated by burning down or by aggressive toning. When an employee has questions about the use of such methods or Mint requirements and limitations on photo editing, he or she should contact the photo editor/art director prior to the use of any image.

Two more paragraphs follow. Haven't all bases been covered? I would say yes.

In addition to spelling out journalistic standards, the Code also provides specifics on issues related to integrity as well as professional conduct, political and civic activities as well as personal conduct. It deals, too, with accounting and finances, employment, and environmental concerns.

Read Mint's Code of Conduct in its entirety here. Be an informed reader. Demand more of your newspaper.

• Also read: "The inviolable line between news and advertising at Mint".

"TREAT WRITING AS A JOB"

Treat writing as a job. Be disciplined.

Lots of writers get a bit OCD-ish about this. Graham Greene famously wrote 500 words a day. Jean Plaidy managed 5,000 before lunch, then spent the afternoon answering fan mail.

My minimum is 1,000 words a day — which is sometimes easy to achieve, and is sometimes, frankly, like shitting a brick, but I will make myself stay at my desk until I've got there, because I know that by doing that I am inching the book forward.

Those 1,000 words might well be rubbish — they often are. But then, it is always easier to return to rubbish words at a later date and make them better.

~ SARAH WATERS, award-winning, bestselling author of five novels to date: Tipping the Velvet, Affinity, Fingersmith, The Night Watch and her latest title, The Little Stranger.

Who says film reviews have to be text-centric?

Not Sahil Rizwan, a 24-year-old freelance writer and creator of "The Vigil Idiot". Under that rubric, Rizwan "reviews" Bollywood films on the "Mumbai Boss" blog. Of course, "reviews" is a misnomer; what Rizwan does is give us his take in the form of a graphic novella with stick figures for characters.

Here is the first panel of Rizwan's broadside against Madhur Bhandarkar's latest offering, Heroine:

Laugh your way through all the panels here: "The Vigil Idiot: Heroine".

Eat your heart out, Rajeev Masand!

• Thank you, Medini Mangala, for that Facebook alert!

V.S. Naipaul's advice for beginner writers

One of the first things I tell my students is that it helps to follow a formula when you are starting out as a writer.

For example, when aspiring journalists try their hand at writing a news report, they should keep in mind the inverted pyramid structure and divide (loosely) their story structure into intro, explanation, corroboration, and qualification.

I also tell my students that there are a million ways to say the same thing so, once they become confident about their writing, they should experiment, and break the rules if necessary. The only thing that matters, I try to impress upon them, is the reader. As long as the reader is hooked, it does not matter what formula has been used.

A WAY WITH WORDS: V.S. NAIPAUL

Now here's some advice for beginner writers from Nobel laureate V.S. Naipaul. He may have novelists in mind, rather than journalists, but this list, which was compiled at Tehelka's request, contains advice that media novices will benefit from, too:

1. Do not write long sentences. A sentence should not have more than ten or twelve words.

2. Each sentence should make a clear statement. It should add to the statement that went before. A good paragraph is a series of clear, linked statements.

3. Do not use big words. If your computer tells you that your average word is more than five letters long, there is something wrong. The use of small words compels you to think about what you are writing. Even difficult ideas can be broken down into small words.

4. Never use words whose meaning you are not sure of. If you break this rule you should look for other work.

5. The beginner should avoid using adjectives, except those of colour, size and number. Use as few adverbs as possible.

6. Avoid the abstract. Always go for the concrete.

7. Every day, for six months at least, practise writing in this way. Small words; short, clear, concrete sentences. It may be awkward, but it’s training you in the use of language. It may even be getting rid of the bad language habits you picked up at the university. You may go beyond these rules after you have thoroughly understood and mastered them.

• I discovered this list when I was going through India Uncut, the blog published by novelist and journalist Amit Varma.

What journalism is really about...

...can be discerned from this "wanted ad" being circulated via social media and e-mail by Sudha Pillai, features editor of Bangalore Mirror:

I'm looking for a features reporter. Mail me your resume if you have 2-4 years experience; you are working in the print medium; you are from Bangalore; you know the city and its people well;

...you have an inquisitive mind; you are curious about everything and everyone around you;

...you are someone who doesn't think that she is god's gift to journalism; you are someone who does not think that you know it all and there is nothing more to learn;

...you are someone who does not think that journalism is all about having five ready-made questions, which you will ask anyone from the prime minister to the office boy;

...you are someone who does not think that all a journalist needs is a phone and e-mail;

...you actually like going out and meeting people; you are someone who will go out and find your own stories and not regurgitate something that has already been regurgitated;

...that you are not someone who will ever call up a theatre company and say you are a journalist and that you want free tickets; you are someone who does not think that having a free meal at a restaurant, getting a free spa experience and other freebies are legitimate perks of being a journalist;

...you are someone who is willing to learn, explore, laugh, work REALLY, REALLY HARD and have fun on the job then...

...I promise you I will teach you all that I know; you will write some of the most fascinating stories and have some memorable experiences in life. I am a tough boss.

If you are willing to take a chance send me an e-mail: sudha@sudhapillai.com.