Journalism Tips. 51. Writing stories. Why I think you should take I out.

Sir Humphrey: The identity of the official whose alleged responsibility for this hypothetical oversight has been the subject of recent discussion is not shrouded in quite such impenetrable obscurity as certain previous disclosures may have led you to assume; but not to put too fine a point on it, the individual in question is, it may surprise you to learn, one whom your present interlocutor is in the habit of defining by means of the perpendicular pronoun.

Hacker: I beg your pardon?

Sir Humphrey: It was... I.

So far we've gone through the basics of finding people, using FoIs and the basics of making contacts. More on these subjects in a later posts.

Now we come to the business of actually writing the story.

As a general rule of thumb whenever you are tempted to write anything that is to be read by more than a handful of people go through it removing the word "I" - unless it is in quotation marks and somebody else has said it.

This goes for most news, features and reviews... and an awful lot of comment too.

If you don't believe me (again only to be rarely used) try reading a paper at random...

Pick up the Daily Express and run through its news pages. Or The Mirror... or the Bridlington Post... or the Falmouth Packet... or The Economist... even i won't have news stories with the word I (unless it is about the paper's circulation - but let's draw a veil over this).

Unless you are a fundamental part of the story - and going along to an event does NOT make you a fundamental part of the story it makes you an observer - you should never use it.

Instead what you write should be about other people. It is part of writing as a journalist. It is not to say that gonzo journalism or first hand reporting will never feature in your career it is just at this stage it is best to leave it on the park bench, give it a lolly and tell it you'll be back in five minutes - then not return to that area for at least the next five years.

"I" is what Twitter is for... not readers of your news stories.

Similar when reading student articles interviewing someone vaguely famous there is far too much what a great honour it is for the interviewer to meet them. Why "it's not every day that you get to meet global superstar and singer extraordinaire Frankie Cocoza..." (at this stage I'd like to apologise to readers of this blog from outside of the UK for even introducing the concept of a Frankie Cocoza into your consciousness. Needless to say he is some irritating little no mark who once appeared on the UK version of X Factor).

Ask yourself: Who will be interested in YOUR experience of meeting a celebrity? What will they get out of reading about you? Why would they care?

Again, stop reading stuff online and read a few properly subbed features in a newspaper or magazine. See for yourself how they are done.

The word "I" may feature occasionally but it is not the main focus.

Now before anyone starts let's put aside the writing of the brilliant Liz Jones - yes, I did say brilliant. She had a style which is often mocked but it is incredibly successful - and well read - especially among her target audience. That however takes a lot of experience because that is what she is sharing as part of her hook for readers.

Or take Hunter S Thompson who shoe horned himself into his stroies to create Gonzo journalism. This was not done on the basis of a single interview or evening. He lived and breathed the life of his subjects - or er not in some cases. You simply haven't got the time - yet.

Perhaps more importantly once you remove the "I" from your copy you begin to write differently. It naturally changes your persepective. Your copy-style changes, and quite rapidly, to one more like that of mainstream media.

To break my own rule: I once picked up a college magazine. And every single article featured the vertical pronoun and tucked away behind the reviews and the going out pages and editorials and lengthy articles of Developing World debt were two pages on the forthcoming student elections.

An important subject for most students, one might think? Perhaps an interview to hear the voices of somebody else in the paper? A meaty subject worthy of spending some time over...? Of course not each candidate was given 30 words to say what they would do if they won office.

I consoled myself with the fact the reviewer of James Joyce's Ulysses happened to enjoy it.

Update: A former colleague who has asked to remain anonymous sent me this rather glorious tale that illustrates the above beautifully...

She wrote:

This brings to mind a story told by an old editor of mine after a terrible accident involving a ferry when a number of lives had been lost. He was told at conference by the head of news that one particular junior reporter was at the hospital bedside of a survivor who had given a blow-by-account of the horror. "Great," said my old editor. "Let's clear two pages for a first person piece." Three hours later, when the 1,500-word story was submitted, it read something like this: "I was awoken at 6.30am by a phone call from my news editor. 'Get down to the ferry station', he said, with some urgency in his voice. Immediately I grabbed my notebook and my camera and headed out of the apartment, grabbing a bagel en route." And so it went on and on and on....

To keep up to date with future tips follow @journalismtips on Twitter or sign up below.

Journalism Tips 50. Working your first patch. Contact building.

Today young reporters are taught all about data journalism - effectively glorified number crunching.

There's nothing wrong in this, in fact it can produce some brilliant investigative stories. It's also not that much fun.

Getting out onto a patch is really one of the best parts of the job. Actually talking to people you would never normally come into contact with makes it interesting.

Building up a relationship with someone so that they take you into their confidence is where - and I'm rather loathe to use the word - scoops happen (or at any rate half decent stories).

Now there is no point simply running around your patch trying to catch everyone and expecting them to tell you easily packaged, off the shelf, exclusives.

Like everything that takes time a fair amount of effort. But it's worth investing the time, especially if you are planning to be on the patch for a few years.

Quite simply having a number of a person does not make them a contact - otherwise we could all walk around with the Yellow Pages and call it our contacts book.

Real contacts need to be cultivated (which sounds slightly cynical but isn't). The contacts that will give you the best stories are those you make an effort with, the ones you speak to regularly.

You have to give them a reason to trust you - and you do that over time. If they see what you are writing and it is well researched, well written and fair - sometimes even if it is not in their best interests - they will begin to trust you.

It really does not take long. But really don't try and score cheap points, or sensationalise or needless stitch a person up over a minor joke (believe me public life is dull enough without trying to make everyone so paranoid they never try humour again).

If you fairly reflect what the person is trying to tell you, they will tell you more. And with trust comes information, better information, more guidance, advice on where to look for that better story... that exclusive which is going to get you a decent page lead in a national.

And it all starts with a simple introduction (and probably, but not always with a pint).

So let's go through this. You should have contacts among:

Local councillors

The police

Tenant and resident associations

A smattering of some of the larger religious groups

Licensed Victuallers Association

Federation of Small Business

Local theatres

Larger businesses

The shopping precinct

Local newspaper

Pressure groups - including friends groups

Sports clubs/leagues

This is only a very basic list but it's a solid start. If you followed the previous tips and started a Twitter feed for your patch you have a basic in.

Anything they tweet about that maybe of interest you have an immediate point of contact. Tweet them and ask for a chat. See if you can develop that moan about funding cuts or local road works killing business into something more. First check it's not been done before... or see how you can take the story on.

Local councils are often the first place. It may not seem it but these are incredibly important sources for your local area, more so than national Government.

This is the organisation that is the frontline when it comes to dealing with national policies. The local councillors are the ones that deal with real people in their surgeries, so they will see how those policies work in the real world. 

Running alongside this is the council's own policies - these too will affect local people. Then there is planning, not necessarily a full council policy, but a policy made from the planning committee.

Too often local papers aren't very good when it comes to dealing with councils. It may be in part that local newspaper reporters are often young and councillors are often middle-aged and old. It is a generalisation but it works as a rule of thumb.

Usually the most helpful councillors are the ones in opposition (funny that). So first off if you are going to contact people on your personal Twitter account I suggest removing any political stance you may have on your profile.

'Lefty' or 'Europhile' or whatever you may have may make people wary of talking to you. Bias will be seen in your copy anyway without you explicitly stating the fact.

Personally over the years I've been told I'm a Tory and a Socialist - even from people reading the same story.

Secondly local government often transcends party politics for the vast majority of its work. Thirdly you should be on the side of your readers (I will deal with this in a later post).

And finally most councillors are doing the job to help their communities and do the job not for money but a sense of duty. 

Now all of this is not to say you can't get on with some particular councillors more than you do others. 

Remember too that more often than not these people live in their areas they serve. By nature of their position they know a great many people, they hear about things both relevant to their work and not.

They are reading through reports, they will know the background to them. A long serving councillor will know what has been tried before... and why it didn't work. In short they can bring alive an otherwise boring planning application, or new road scheme, or parking costs and so on.

In other words lots of stuff you won't necessarily know.

And if they are very good - and media savvy - they will highlight potential areas and advise to stick around or turn up at a particular council meeting.

So yes it is worth attending a few meetings, even as a student. And if the local paper isn't there it may be worth filing a lead and seeing what happens.

But again wherever possible take the story out of the council chamber and into streets. Few things are more boring than a dialogue between half a dozen councillors at a meeting.

What is useful about attending is that you see first hand the councillors with the strongest opinions or those with particular interests. Make a note of them in your contact book - say a councillor interested in the local market it is worth going back to them again next time it comes up in a story.

A good contact book does take time to build up 

How to be a journalist 40. The death knock (Part Two)

In my last post I dealt with how reporters should deal with a death knock. As always there is nothing - or at least very much - revelatory for experienced journalists. But then these tips are aimed at juniors and trainees who may yet have covered one. Again this is not an exhaustive list and all comments, suggestions and observations are welcome.

This latest posting concentrates on how to build up a picture of a person's life in a few questions. Again every circumstance is different so while this tries to cover everything you will still need to think on your feet and listen to the answers given.

You will also need to be aware of any on-going police action and/or the potential to libel. It will be part of your job to explain why you won't be able to include all their quotes. You could not for example quote a claim that a widow that a driver involved in a death crash was not paying attention. That is up to a coroner/court to decide. If at all possible steer them to something that will make a more general point without being unusable.

All of this said you are still looking for a line. This is not about simply writing a formulaic story along the lines of:

A family last night paid tribute to....

We could/do all write this a hundred times over. Sometimes the tragedy in and of itself is simply enough but keep in mind the family details are not revealed straight away in most cases. It could come an edition or two after the original story.

By then the immediate family will be aware, so too many of the extended family and friends as well, possibly even wider still. Or it has been revealed by a rival news organisation. All of which means that sticking to the formula is no good and why you need another line.

So assuming that you have managed to get a chat with the family and have checked relationships of the people you are talking to and double checked the details given to you what should you be asking:

1. Establish all the immediate family members and their relationships. You need names and ages. Don't assume this is all the family. You will also need to establish length of relationship to a partner. If their parents are still alive, any other family. If they are young you want to know about boyfriends or girlfriends has the family spoken to them? You want to get the general reaction from the family. I try to avoid asking "How do you feel?" and try, "I can't imagine how you feel, how would you describe it?".

2. Can you describe their personality? This isn't all about facts, it's about pure emotion. It covers a great deal of very personal information and what you are trying to do is convey their life in a few words. This is a catch-all question it allows the bereaved to talk in an open-ended manner about the deceased.

3. What were their hobbies/interests? Again this is detail that fleshes out a life. It also, as with many of the questions, can provide fresh avenues to chase. Most of the time this will simply not be necessary but never rule it out entirely. It may be worth asking if there is anyone else they think it is worth talking to.

4. What did they do for a living? And previously? Again this is about establishing the person's existence. Not everyone is defined by their work but some are and - for good or for ill - many people will be able to create an image of that person based on their work. Did they go to university? Previous employment etc. It's a sad but usually true that if the deceased is young, public school educated and went to Oxford or Cambridge the story is more likely to be picked up by nationals. For older men (born before 1945) it's worth considering if they conscripted into National Service. For children you will want to be establishing the school and favourite subjects.

5. Were there ever any worries about the situation in which they died? Does the family think they will take any action - legal/civil - in regards to the death? For example, a cyclist may have always been concerned about the particular junction in which the accident happened and had voiced those fears. Or perhaps they had had several near misses over the years or been involved in a non-fatal accident not so long ago.

6. Were they from the area the family home is in? Essentially this is about establishing their deep background. They may have moved there for work, or an immigrant looking for a better life, or to study or any other of thousands of other reasons. If so how long had they lived there for? Or they may simply have lived there all their lives. In the case of children why did their parents move there.

7. What were their hopes and dreams? This is about showing 'a life interrupted' a life that could have been if it had not been struck by tragedy. This is particularly poignant of younger lives that have yet to reach full potential. If not married consider asking if marriage plans had been discussed.

8. Have they ever previously appeared in the news before? We're back to catch all questions but remember the person you are interviewing has been through a great shock. Without knowing anything about the deceased you have to cover as much ground as you can in as few questions as possible.

9. Can I have a photo? Preferably one with the family and ideally one of them looking smart.

10. And finally. Is there anything I have missed that was important to their life that you would like to get across? Personally I also add if they would mind me calling again and always ask for a mobile number. This is where explaining that if you can check back the details with them can be useful.

I think I have covered most of the important elements, as always, I may have missed something crucial and would appreciate any comments adding to this list.

To keep up to date with future tips follow @journalismtips on Twitter.

How to be a journalist 39. The death knock (Part One)

Without doubt one of the hardest, most emotionally draining jobs for the average reporter is the death knock. It is not, as many critics of the Press will have you believe, a simple act of voyeurism into grief. If you believe that you are in the wrong job - many do and many leave.
And if you find it is not emotionally draining than you ought to see someone about it. I've yet to meet anyone who doesn't feel that way.

The fact is we do an awful lot of these and you never quite get used to them. Not once. So why do we do them? A successful death knock will stop a death becoming just another statistic. It's much harder for those in authority to dismiss numbers than it is to ignore individuals. Bland excuses can be made, figures fudged, the truth bent, things swept under the carpet. Try doing that with a real person - an individual who has experienced pain.

It can also act as an obituary, sometimes but not always, something the family will want to hold on to as a keepsake.

And in the meantime, you as a reporter, will be accused of all manner of despicable behaviour. You will, for your efforts, be accused of intrusion, of being scum, of being a vulture, of preying on grief, of only being interested in selling papers, of being uncaring, of being these and many, many more things.

Which is why you have to believe in what you are doing, in why you believe their story could make a difference. Not only for the family, in the short and medium term, but for others in the long run. And it can make a difference. And, no, I do not believe I am self-deluding. I genuinely believe - as you should - that as reporters what we do is important and can make a difference. Of course I am not saying it will prevent all future deaths of a similar nature; but in some cases it may help highlight and focus energy on a particular area, ie a rat run, a cycling accident at a junction, an industrial accident, a murder.

Also don't go making assumptions, that too is a very bad idea. Being sensitive is essential. Firstly, in order to show you are a member of the human race but also to win over a family's confidence.

Despite all of this we are still there to tell a person's story. If the door is slammed in your face you have failed. I say this because, hard as it is, you should do the knock. Simply not bothering or relying on social media is a disgrace to yourself and your trade.

So hopefully I've established why they are necessary. Many may well disagree, that is their prerogative.

DON'T:
1. Make assumptions. Each death should be treated purely on its own merits.
2. Ever say, 'I know how it must feel'. Unless you can back that statement up by talking about the death of one of your own loved ones and feel it may help in making a connection. In general avoid meaningless platitudes.
3. Rely entirely on social media UNLESS there is no other possible way of doing it. Even then ask to speak to family members in person or by phone.
4. Lack confidence. Yes, it is a nerve wracking experience for the reporter but a polite, professional manner is better than a stammering bunch of nerves, which will only make you sound shifty and not inspire confidence that you will be able to tell the family's story in a way they would want. Indeed a bad approach can and will engender distrust.
5. Be scruffy. Again, you are knocking on a door unannounced, this is about showing you are a professional.
6. Go mob handed to a doorstep. If several newspaper reporters, agency reporters, photographers, camera crews and radio journalists turn up at once send two trusted representatives who can then share the information. There is nothing like an undignified scrabble to upset the family. But trust in your fellow reporters is key.
7. Rush. If a family is good enough to talk to you give them the time they need to tell their story. If you have a deadline looming do explain you have to file but be prepared to stay longer.
8. Ever offer money for someone's story.

DO:
1. Apologise for disturbing them. This is your acknowledgment that you are an outsider at an intensely personal time but avoids the impersonal platitudes (I'm sorry for your loss etc) which the family may well find odd coming from a total stranger.
2. Follow the family's wishes. But if they ask you to go away do remember to ask if it would be possible to come back at some later stage. Ask when that would be convenient.
3. Check everything you've been told by the authorities. Including the spellings of the deceased's name and age. Police and coroners can make mistakes. If this is for print then errors cannot be easily rectified. That in itself can be very upsetting. Indeed even if a family say no to an interview it is still worth asking if you can double check the details.
4. Work out what you are going to say beforehand. It will allow you to make the key points as to why you believe their story is important and will, hopefully, reduce your nervousness.
5. Establish you are speaking to an adult and, where possible, their relationship to the deceased.
6. Remember a person did not become important the moment they died. They were important to their friends and family in life. Build up a picture of that life as best you can.
7. Ask for a photograph that best sums up their life. Preferably with their family.
8. Consider asking the family would they like to be read out any tribute piece. This is controversial in newspapers so check with your newsdesk and it's certainly not something that is advisable in every circumstance but I've rarely - if ever - found it to be a problem. A brief run through ensures there are no misunderstandings; that the details are correct; that you or the family have not left out something that is important; and it helps build up trust with the family. (You must explain it may be edited before going in the paper.)

NEXT: Building up a picture of someone's life on a death knock.

For further reading see Jackie Newton excellent blog here on death knocks.

And here's the Press Gazette report on her research. (I see that many of the negative comments have been removed.)

And here's a personal and view from Australian journalist Sarah Harris on why they are important.

And here's Roy Greenslade offering another view - note he didn't speak to the newspaper he was referring to in the story.

And another Roy Greenslade piece an extract fromThe phone hacking scandal: journalism on trial is by Jackie Newton and Sallyanne Duncan.

To keep up to date with future tips follow @journalismtips on Twitter.

Journalism Tips 35. Why every reporter should know their history.

In order to interview and write intelligently every decent reporter should be able to rely on some residual historical knowledge of their own. While Wikipedia may solve many of the problems while sitting in the office it is very little use while in the middle of an interview.
Similarly if you don't know what to ask Wikipedia for you are never going to find it. For example if there is a dustman's (or as they are know doubt called now a peripatetic disposable environmental logistical transition officer) strike and you know nothing of the Winter of Discontent than you won't be looking for it and more importantly you won't feature it in your story.
Some years ago I spoke to a reader while on a local newspaper and he complained: "The problem is that most local reporters are just thick. The editors are usually alright - but even then sometimes..."
It is not my view. Although given the paper I was working on at the time I could see how he may have reached that conclusion.
As a general rule of thumb I'd say it is worth having a detailed understanding of the recent (five years) events), reasonable background on the past 100 years and a decent amount of knowledge on overall British history.
You see, unlike science - people will expect you to know something about the past. (Scientists are a far more understanding mob than most people and they know the chances are that the day you flunked your GCSE chemistry was the last day you ever looked under a microscope. A little tip when interviewing anyone esp scientists about their work wait for them to finish their explanation before picking up your pen and then asking if they could put it into layman's terms for the readers...you understand the concept, of course, but you feel their words would be so much better. (This usually works until the day that someone responds that they WERE using layman's terms and your general ignorance is revealed)).
So why is history important? The chances are if you are working on locals you will have to cover the usual fare of anniversaries these are usually dull and uninspiring reads generally brought about by a complete lack of interest on the behalf of the reporter to the subject matter. By knowing of the events we can better understand the person's role in them and contextualise it within our story.
Again this is not about having a detailed history - we are still writing a story - but a general over view that stops us looking ignorant. It is a surefire way to lose the respect of the interviewee..alternatively a little knowledge can go a long way.

For a readable overview of British history it's worth reading This Sceptred Isle which romps through the 20th Century...there are also CDs and, no doubt, downloads.

Journalism Tips 34. Reporters out on the road: The essential kit.

On a previous tip I said you only need two things to do this job a pen and a piece of paper. Strictly speaking that is true but in order to make life a little easier you will need a few more things...as I've remembered having been put back on the road, albeit temporarily.

You see the problem is it is all a bit more complicated - and expensive. So let's take as a given the basics, pen and a piece of paper (nearly enough for most local newspapers but not entirely). What else then? A mobile phone - and don't expect the paper to pay for it. You will need one even on the most backwater of locals. Newsdesks will expect to get in touch with you at any time and the mobile phone is your electronic tag....but they are unlikely to provide it.

I worked at one paper where one of the reporters refused to give their mobiles to the newsdesk because they didn't want to be bothered. I believe they are now doing PR for a cats' home or something equally important. Don't even think it.

The fact is that despite the fact they expect you to have one most newspaper groups will refuse to cover your contract. They will - and should - cover your work calls but don't be entirely surprised if they don't.

The big change came in around the early 1990s, when mobiles then the preserve of national newspaper reporters started to be used more and more by the more ambitious local journos. By 2000 every reporter had one.

I also advise you get a smart phone...failing that you will need a lot of other stuff to lug around.

Namely:

A Sat Nav. In ye olden days when the A to Z was king I used to turn up to jobs hot, sweaty and late because of appalling sense of direction. But the advent of the Sat Nav changed all that. Today I turn up hot and sweaty but, crucially, on time. It's saved a lot of leg work. Of course even the Sat Nav has had its day and you will find maps on most decent mobiles.

A camera. I've spoken too about the need for a camera, photographers being short on the ground thesedays. The importance of photographs has risen dramatically as we slowly migrate to online. An Internet story without a photo is pretty much a dead story. Being able to send pix from the scene - and the faster the better - is a hugely useful for the online team. Many phones also do video...even better. Of course the quality doesn't have to be tip top - this is about supplementing photographers not replacing them.

A lap top - WITH Internet access. Filing from the scene, especially if you work on a daily is essential. You simply can't rely on being able to get back to the office. And if it's a big on-going story then you shouldn't do. But it will probably need a dongle (or whatever they call them in the US) and that will cost. However a smart phone should be adequate to file, although certainly not perfect. 

A dictaphone.  Pretty useful it is too, especially when you discover that your shorthand isn't 100wpm after standing outside in -10º for five hours or when you are in the middle of a riot, it's actually less obtrusive, more or less hidden in the palm of your hand. But also when door knocking it's useful. Writing things down in front of people can make them nervous, they will become more aware of what they are saying and you will lose eye contact every few seconds to jot down what they are saying. Again most phones have them built in thesedays so it's all rather surprising that court security staff don't take them off you when you go in...unlike the dictaphone because you are not allowed to tape court proceedings.

Now if you are relying on all this stuff you will also need a spare battery...unless you have an Apple in which case you will need FIVE spare batteries. Actually you won't because Apple don't have replaceable batteries. So in that case you will need - and believe me you WILL need - an external charger. Speaking of chargers if you are driving it may be worth investing in a dual cigarette lighter socket so that you can charge two devices at the same time.

When on the nationals I used to take two mobiles and spare sim cards just to be on the safe side. The loss of a mobile is a major headache and is not appreciated by the desk...so what if you were mugged, no one cares. 

Indeed on the nationals you need a whole heap of extra stuff you probably won't need on locals or regionals. An overnight bag with at least a week's worth of clothes, although even that may not be enough. One reporter - whose I fortunately cannot remember - once complained: "I've been turning my underpants inside out so many times they look like a humbug..."

You also need your passport on you at all times. I carried mine for two years without ever going abroad until I was sent to Dubai and only just made the flight...it would have been a fairly major downer to have missed it.

But all reporters need to have enough cash - as in real notes - to get the teas in. A cashpoint isn't always available but (again on nationals you will probably need a working credit card). Also a small sack of change (unless you are in London or Cornwall) in which case a large sack of change for parking. Never underestimate just how much you will need...it will never ever be enough.

A radio is useful too. Oh and a book...for the really long jobs (mine was usually the Good Pub Guide but McNae's Essential Law is probably a much more useful item).

Other assorted items that are handy to have around. A stout pair of boots, wellingtons, a large coat, sun tan lotion, expenses forms and an umbrella.

And naturally I have forgotten something. We always do...

I did: It's also worth having an electrical extension lead and additional sockets (trust me you will need them one day).

Anything else?

22. When interviewing listen for other stories. You can often get one or two page leads from incidental comments.

The biggest problem for local newspapers is actually filling the paper - yes, yes I know that's the bleedin' obvious.

Or so you might think. Local newspapers tend to do everything that possibly can to make this task as hard as possible.

It's not deliberate it's just a complete lack of foresight - which in fairness is easy to do when the sheer trudge of filling the pages is job enough, which is brought about by a lack of foresight, which in turn...

Well you get the idea.

It's all too easy to become focused on filling the pages and panic stricken moving on to the next one - in a rush without looking properly at the material you have.

Which brings us to listening out for stories in interviews.

It should - like for example, reading a newspaper - go without saying that when reading papers you are scouring for stories to use for your own paper.

(Remarkably it seems the effort of ripping something out of a paper is too much even for some national journos. Years ago as a reporter on The Sun a colleague brought in a very good tale about a very pretty woman solider that he had taken from his local. It had also been spotted by a rival news editor - only he was waiting for the news agency to file it...he had a long wait. The interview and pictures were in the bag and printed.)

Ok so, when reading the newspapers or magazines always be on the look out for stories from your patch. You should be able to find one or two in a good week - of course, if you are any good the stories will already have been in your paper.

But the point is always be on the look out for secondary stories in your interviews. For example say a local celebrity during a general interview about their latest book they were bullied while they were a pupil at the local comp...see if it can be developed into: I was bullied at school, says local star. Getting addition quotes from former pupils/teachers.

It is the sort of thing done all the time on the broadsheets...adapt the ideas to suit your own paper.

Or if an editor is against the idea - some of them really are unimaginative - keep the quotes to one side to use at a later date (probably the following week when you will be panicking about filling the pages all over again).

But here's an example of my own about what I mean.

I spotted this interview in The Spectator and even before I'd reached the end I wanted to interview Geoffrey Wellum, the Battle of Britain's youngest pilot...I was genuinely overjoyed when I found out he was from (nearly) my patch (I had to ask politely to do the interview from the reporter whose patch it was).

This is my original interview with him. I never nailed the intro - and actually remain pretty unhappy with the article as a whole...especially when compared to Christian House's Spectator original.

However journalismtips is not a masterclass in feature writing but basic hints for beginners.

Needless to say the article took up a page with photographs. But we couldn't fit everything in. So rather than cramming it I considered what I could leave out.

I decided we could dispense with the details of how his remarkable story came to be discovered and turned into a TV film. The result was this article.

I use this only as an example of how it can be done.

You can also use it for tip-offs which can in turn lead to proper investigations when something is said in an unguarded moment.