THE ART OF INTERVIEWINGS

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Journalistic Writing MCM310

LECTURE 44

THE ART OF INTERVIEWINGS

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.

Interview types:

The quickie

Vox pop

Ambush

Phony

Performa type

phone tip-offs

In-depth s

CONDUCTING INTERVIEWS: ADVICE

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 knowledge of the subject so thorough that it creates

a kind of intimacy between the journalist and the interviewee."

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.

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 open-ended

allow the interviewee to reveal information or feelings that you did not anticipate.

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.

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

favoured detergent, but not in the discovery of men and women. It was simply a case of making

conversation and listening."

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.

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.

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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.

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.

10.

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?

11.

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.

12.

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.

13.

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."

14.

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.

15.

Make `accuracy' your goal. Be sure your quotes are accurate. If not, paraphrase. Ask for correct

spellings. Don't pretend to know something that you don't. Summarize for the subject in your own

words some of his main points. For example, you might say, "Let's see if I understand you. You

mean..."

16.

Tell the subject you will be calling back later to check facts (not quotes) and do so. Make the call when

you are almost finished with the story. Use it as a second interview. Ask about areas you did not

understand, or about areas that will be a part of the story but were not covered well during the original

interview.

17.

Tape-record the conversation if time permits and the story demands. Is this a profile? Does your

subject have a distinctive way of speaking? Is this a controversial topic? Will the presence of a recorder

put a chill on the conversation? If you decide to use a recorder, ask permission of the subject. Place it

off to the side, but where it can be seen. Make sure it is in good working order with good batteries.

Use it as a backup to your regular note taking.

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18.

Assume that the conversation is "on the record." If the subject asks for parts of it to be "off the

record," try to convince him/her otherwise. If unsuccessful, make sure you and the subject understand

the ground rules. Does "off the record" mean you can use the material, but not with her name attached

to it? Can you go to someone else and get the information on the record? Or does "off the record"

mean you cannot use the information, even without his name attached, and you can't go to someone

else to get the information?

19.

Direct quotes from your subject are essential for your story. They allow your reader to "hear" the

person you are writing about. They also create the impression of objectivity that you, the reporter, are

simply telling the world about something that happened. But quotes must be 100 percent accurate. If

you are not certain of every word of the quote, remove the quote marks and paraphrase. However, it is

permissible to "clean up" bad grammar within a quote.

20.

Make sure the quote is revealing of your subject. Avoid direct quotes if the material is boring, if the

information is factual and indisputable or if the quote is unclear. Make sure the quote advances the

story and does not repeat the material above it.

21.

Often the advice given for interviewing makes it sound like a game of wits with your subject. They've

got something you want, and they won't give it to you. You are advised to "flatter them," "make them

feel comfortable," "lead up to the tough questions with easy ones," "don't take no for an answer."

What's implicit here is that there are several realities that you can report. A good reporter reports at

one level. A great reporter reports at another level, closer to what I call "actual reality." Strive to

discover during the interview the "actual reality."

22.

Figure that there is material that your subject knows, will tell you and will let you report. That is the

"reportable reality." There is another reality that the subject knows, will tell you, but will not let you

report. This is the "private reality." There is a third reality that the subject knows but will not tell you,

much less let you report. Strive to discover through every legal and ethical means this "actual reality"

and report it. Remember, journalism is what somebody doesn't want you to print. Everything else is

publicity.

XXX

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