TOPIC 1: BASIC to WRITING Sub topic 1: COMMONLY CONFUSED PAIRS

accept, except affect, effect a lot, allot bring, take co l! "a#e, not co l! of fe$er, le%%

I accept this award. No one except Ryan may talk right now. The effect (noun) of the sun's rays can be harmful. Turning in that paper late will affect ( erb) your grade. !effect" a result# affect" a change$ %& lot% is two words meaning many# %allot% means to disperse. (a oid using %a lot%) 'ring me my slippers then take the trash to the curb( please. 'ring)come towards you Take)go away from you. should ha e( not should of# would ha e( not would of There are fewer students in *orensics this year( so our meetings will take less time. +se %fewer% when referring to plural things# use %less% when referring to singular things. I will do well today now that I know you ate a good breakfast. %,ood% is an ad-ecti e# %well% is almost always an ad erb. Its fur is brown and it's in need of washing. %Its%. is a possessi e pronoun. %It's% is a contraction for %it is.% I knew you would ruin your new shoes. /New. is state of age# /knew. is past tense of /to know.. No( I don't know the capitol of Rhode Island. %No% is a negati e response. %To know% is to be aware of something. 0ead on( 1yle( or do you prefer being led2 %0ead% is present tense# %led% is past tense. If you keep your hold on that leash so loose( you will lose the leash and the dog will run away. %0oose% is not tight. %0ose% is to ha e something disappear. In the past( people with manners would ha e asked for the potatoes to be passed instead of reaching o er someone to get them. %3ast% is a time before now. %3assed% is past tense of %to pass.% 'e 4uiet or you will ha e to 4uit practicing in our garage. 5ur neighbors are 4uite beside themsel es because of the noise. %6uiet% is softer olume. %6uit% is to end something. %6uite% is a modifier. If I knew then what I know now( I would ha e chosen this rather than that. %Than% is used to make a comparison. %Then% is a time transition or ad erb. If they're going to play o er there with their toys( then they are going to need to be careful. %They're% is a contraction for they are. %There% shows where. %Their% is a possessi e pronoun. 7he threw the ball through the air. /Threw. is past tense of /to throw.. /Through. is a preposition showing where. I too( ha e had two choices to make. %Too% means also( %two% is one more than one( and %to% is a preposition. 8er waist was so small that we made a si9e : dress and the extra material went to waste. %;aist% is the middle of the body. %;aste% is to not use( to throw unnecessarily away.

goo!, $ell it&%, it% kne$, ne$ kno$, no lea!, le! loo%e, lo%e pa%t, pa%%e!

' iet, ' ite, ' it

t"an, t"en t"eir, t"ere, t"e(&re

t"re$, t"ro g" to, too, t$o $ai%t, $a%te

$eat"er, $"et"er

The weather was so bad( we didn't know whether or not to go to the lake. %;eather% is rain( snow( and all that meteorological stuff( and %whether% is a transition used to show a choice. ;hich wicked witch in The Wiza ! o" Oz did <orothy's house fall on2 (The ;; of the =ast) %;hich% is a relati e pronoun used to refer to something. %;itch% is a sorceress. ;hose article won an award2 ;ho's going to go pick it up2 %;hose% is a pronoun. %;ho's% is a contraction for %who is.% & woman I know was oted ;oman of the >ear for her work in helping battered women. %;oman% with an %a% is singular( one woman# %women% with an %e% is plural( two or more women. I'm happy to announce that your team won( and now you're going to go to the next round in the 'rain 'rawl. %>our% is possessi e pronoun( and %you're% is a contraction for you are.

$"ic", $itc" $"o&%, $"o%e $o)an, $o)en

(o r, (o &re

Sub topic #: FI$URES OF SPEEC%

& figure of speech is a rhetorical de ice that achie es a special effect by using words in distincti e ways. *or example( common expressions such as %falling in lo e(% %racking our brains(% %hitting a sales target(% and %climbing the ladder of success% are allmetaphors??the most per asi e figure of all. 0ikewise( we rely on similes when making explicit comparisons (%light as a feather%) and hyperbole to emphasi9e a point (%I'm star ing@%). +sing o i&i'a( figures of speech in our writing is a way to con ey meanings in fresh( unexpected ways. *igures can help our readers understand and stay interested in what we ha e to say.
The Top 20 Figures 1. Alliteration The repetition of an initial consonant sound( as in "a peck of pickled peppers." *t()olog(: *rom the 0atin( %putting letters together% Pron nciation: ah?lit?err?R&>?shun *xa)ple%: %>ou'll ne er put a better bit of butter on your knife.% (ad ertising slogan for Aountry 0ife butter)
%,ood men are gruff and grumpy( cranky( crabbed( and cross.%

(Alement *reud) B. Anap"ora The repetition of the same word or phrase at the beginning of successi e clauses or erses. (Aontrast with epipho a and epi)t ophe.) 'y building toward a climax( anaphora can create a strong emotional effect. &d-ecti e" a'apho ic. *t()olog(:*rom the ,reek( %carrying back% Pron nciation: ah?N&*?oh?rah *xa)ple% an! Ob%er#ation%: %I 'ee!e! a drink( I 'ee!e! a lot of life insurance( I 'ee!e! a acation( I 'ee!e! a home in the country. ;hat I had was a coat( a hat and a gun.% (Raymond Ahandler( Fa e*e((+ M, Lo-e(,( CDEF)

 %7ir ;alter Raleigh. $oo! food. $oo! cheer. $oo! times.%

(slogan of the 7ir ;alter Raleigh Inn Restaurant( Garyland) %I !o'.t (i/e you sucking around( bothering our citi9ens( 0ebowski. I !o'.t (i/e your -erk?off name. I !o'.t (i/e your -erk?off face. I !o'.t (i/e your -erk?off beha ior( and I !o'.t (i/e you( -erk? off.% H. Antit"e%i% The -uxtaposition of contrasting ideas in balanced phrases. *t()olog(: *rom the ,reek( %opposition% Pron nciation: an?TIT8?uh?sis *xa)ple% an! Ob%er#ation%: %0o e is an ideal thing( marriage a real thing.% (,oethe) %= erybody doesn't like something( but nobody doesn't like 7ara 0ee.% (ad ertising slogan) %Tonight you oted for action( not politics as usual. >ou elected us to focus on your -obs( not ours.% (3resident 'arack 5bama( election night ictory speech( No ember I( BFCB) %>ou're easy on the eyes 8ard on the heart.% (Terri Alark) E. Apo%trop"e 'reaking off discourse to address some absent person or thing( some abstract 4uality( an inanimate ob-ect( or a nonexistent character. - A figure of speech in which some absent or nonexistent person or thing is addressed as if present and capable of understanding. *t()olog(: *rom the ,reek( %turning away% Pron nciation: ah?357?tro?fee *xa)ple% an! Ob%er#ation%: %Twinkle( twinkle( little star( 8ow I wonder what you are. +p abo e the world so high( 0ike a diamond in the sky.% (Jane Taylor( %The 7tar(% CKF:)
%'lue Goon( you saw me standing alone

;ithout a dream in my heart ;ithout a lo e of my own.% (0oren9 8art( %'lue Goon%) L. A%%onance Identity or similarity in sound between internal owels in neighboring words. *t()olog(: *rom the 0atin( %sound% Pron nciation: &77?a?nins *xa)ple%: %If I bleat when I speak it's because I -ust got . . . fleeced.% (&l 7wearengen in Dea!*oo!( BFFE)
%It beats . . . as it sweeps . . . as it cleans@%

(ad ertising slogan for 8oo er acuum cleaners( CDLFs)

:. C"ia%) % & erbal pattern in which the second half of an expression is balanced against the first but with the parts re ersed. *t()olog(: *rom the ,reek( %mark with the letter 0.% Pron nciation: ki?&M?mus *xa)ple% an! Ob%er#ation%: %>ou forget what you want to remember( and you remember what you want to forget.% (Aormac GcAarthy( The Roa!( BFF:) %I flee who chases me( and chase who flees me.% (5 id) %<o I lo e you because you're beautiful2 5r are you beautiful because I lo e you2% (5scar 8ammerstein II( %<o I 0o e >ou 'ecause >ou're 'eautiful2%) %*air is foul( and foul is fair.% (;illiam 7hakespeare( Macbeth I.i) %Ne er let a fool kiss you??or a kiss fool you.% (Joey &dams( 4uoted by Gardy ,rothe in Ne-e Let a Foo( 1i)) You o a 1i)) Foo( You. Niking( CDDD) I. * p"e)i%) The substitution of an inoffensi e term for one considered offensi ely explicit. - The substitution of an inoffensive term (such as "passed away") for one considered offensively explicit ("died") *t()olog(: *rom the ,reek( %use of good words% Pron nciation: >55?fuh?mi9?em *xa)ple% an! Ob%er#ation%: Da' Fo e2a': ,uys( I feel ery terrible about what I'm about to say. 'ut I'm afraid you're both being let go. Lou: Let &o2 ;hat does that mean2 Da' Fo e2a': It means you're being fired( 0ouie. (I' $oo! Co2pa',( BFFE) K. +(perbole &n extra agant statement# the use of exaggerated terms for the purpose of emphasis or heightened effect. *t()olog(: *rom the ,reek( %excess% Pron nciation: hi?3+RR?buh?lee *xa)ple% an! Ob%er#ation%: P i'cipa( S/i''e : The things you don't know would fill a whole library and lea e room for a few pamphlets. Supe i'te'!e't Cha(2e ): There's no need for "(perbole( 7eymour. (%'art 7tops to 7mell the Roose elts.% The Si2p)o')( 5ctober B( BFCC)
%I was helpless. I did not know what in the world to do. I was 4uaking from head to foot( and

could ha e hung my hat on my eyes( they stuck out so far.% (Gark Twain( %5ld Times on the Gississippi%) D. Iron( The use of words to con ey the opposite of their literal meaning. & statement or situation where the meaning is contradicted by the appearance or presentation of the idea. - the use of words to con ey the opposite of their literal meaning# a statement or situation where the meaning is contradicted by the appearance or presentation of the idea. &d-ecti e" i o'ic or i o'ica(. T"ree kin!% of iron( are co))onl( recogni,e!:

C. Nerbal irony is a trope in which the intended meaning of a statement differs from the meaning that the words appear to express. B. 7ituational irony in ol es an incongruity between what is expected or intended and what actually occurs. H. <ramatic irony is an effect produced by a narrati e in which the audience knows more about present or future circumstances than a character in the story. *t()olog(: *rom the ,reek( %feigned ignorance% Pron nciation: I?ruh?nee CF. -itote% & figure of speech consisting of an understatement in which an affirmati e is expressed by negating its opposite. *t()olog(: *rom the ,reek( %plainness( simplicity% Pron nciation: 0I?toe?tee9 *xa)ple% an! Ob%er#ation%: %1eep an eye on your mother whom we both know doesn't ha e both oars in the water.% (Jim 8arrison( The Roa! %o2e. ,ro e 3ress( CDDD)
%;e made a difference. ;e made the city stronger( we made the city freer( and we left her in

good hands. &ll in all( not bad( not bad at all.% (Ronald Reagan( *arewell &ddress to the Nation( January BF( CDKD) CC. .etap"or &n implied comparison between two unlike things that actually ha e something important in common. *t()olog(: *rom the ,reek( %carry o er% Pron nciation: G=T?ah?for *xa)ple% %8umor is the shock absorber of life# it helps us take the blows.% (3eggy Noonan( What I Sa* at the Re-o(utio'( CDDF)
%'etween the lower east side tenements

the sky is a snotty handkerchief.% (Garge 3iercy( %The 'utt of ;inter%) CB. .eton()( & figure of speech in which one word or phrase is substituted for another with which it is closely associated# also( the rhetorical strategy of describing something indirectly by referring to things around it. *t()olog(: *rom the ,reek( %change of name% Pron nciation: me?T5N?uh?me *xa)ple% %.eton()( is common in cigarette ad ertising in countries where legislation prohibits depictions of the cigarettes themsel es or of people using them. % (<aniel Ahandler( Se2iotic). Routledge( BFFI) The )eton()ic ,olden &rches logo of Gc<onald's Aorporation CH. Ono)atopoeia The use of words that imitate the sounds associated with the ob-ects or actions they refer to. *t()olog(: *rom the 0atin( %make names% Pron nciation: 5N?a?G&T?a?3==?a

*xa)ple% an! Ob%er#ation%: %Chu&+ chu&+ chu&3 Pu""+ pu""+ pu""3 Di'&4!o'&+ !i'&4!o'&3 The little train rumbled o er the tracks.% (%;atty 3iper% !&rnold Gunk$( The Litt(e E'&i'e That Cou(!)
%5

iiiiiiiiiiiiiiiiiii''&6 &n alarm clock clanged in the dark and silent room.% (Richard ;right( Nati-e So'( CDEF)

CE. Ox()oron & figure of speech in which incongruous or contradictory terms appear side by side. *t()olog(:*rom the ,reek( %sharp?dull% Pron nciation: ox?see?G5R?on *xa)ple% %The best cure for insomnia is to get a lot of sleep.% (attributed to ;.A. *ields)
%& yawn may be defined as a silent yell.%

(,.1. Ahesterton( $eo &e 5e 'a ! Sha*( CDFD)

%;e ha e to belie e in free will. ;e ha e no choice.%

(Isaac 'ashe is 7inger( 4uoted by ;illard R. =spy in The $a !e' o" E(o7ue'ce( CDKH) CL. Para!ox & statement that appears to contradict itself. C:. Per%onification & figure of speech in which an inanimate ob-ect or abstraction is endowed with human 4ualities or abilities. CI. P n & play on words( sometimes on different senses of the same word and sometimes on the similar sense or sound of different words. *xa)ple%: %Time flies like an arrow. *ruit flies like a banana.%
"

(,roucho Garx) hen it rains! it pours." (slogan of "orton #alt since $%$$)

CK. Si)ile & stated comparison (usually formed with %like% or %as%) between two fundamentally dissimilar things that ha e certain 4ualities in common. *t()olog(: *rom 0atin( %likeness% or %comparison% Pron nciation: 7IG?i?lee *xa)ple%: %;hen he lifted me up in his arms I felt I had left all my troubles on the floor beneath me(i/e &i&a'tic co'c ete )hoe).% (&nne Tyler( Ea th(, Po))e))io'). Random 8ouse( CDII)
%7he dealt with moral problems a) a c(ea-e !ea() *ith 2eat.%

(James Joyce( %The 'oarding 8ouse%)

%,ood coffee is like friendship" rich and warm and strong.%

(slogan of 3an?&merican Aoffee 'ureau)

CD. S(nec!oc"e & figure of speech in which a part is used to represent the whole (for example( A5C) fora(phabet) or the whole for a part (%E'&(a'! won the ;orld Aup in CD::%).
Etymology: &rom the 'reek! "shared understanding" Pronunciation: si-()*-di-key Examples: All hands on deck.

General Motors announced cutbacks. "Take thy face hence." (William Shakespeare, Macbeth)

BF. /n!er%tate)ent & figure of speech in which a writer or a speaker deliberately makes a situation seem less important or serious than it is.

7ub Topic H" Writing i% Re$riting

The best writers ha e learned what 8emingway knew" ;riting is rewriting. It's where the story truly takes shape( where the writer marshals -ust the right words( a fitting image( a phrase turned -ust so. = erything beforehand is a warm?up. The best writers don't spit out a draft and fly home. They stay a while and polish the rough diamond. = en on a tedious story( they'll do one thing that's uni4uely theirs( e en if it's a simple as a well?chosen erb. That means they search their draft with a critical eye for the nuggets of meaning and power( using the draft's strengths to form a finished story that readers will want to read( that's clear( simple( focused and understandable. They ask themsel es" ;hat works2 ;hat needs work2 ;hat's there2 ;hat's missing2 8ow much re ision a story needs depends largely on the 4uality of work that went into the front end.

Remember the parts of the classic writing process and their effect on the draft" I!ea ;as it well thought out( or did you chase after the first concept that entered your mind2 <id you talk it o er with your editor2 <id you explore the strongest story angles( trying to discern what readers most want or need to know2 Report <id you co er all your bases( check a balanced sampling of sources( or -ust grab a couple of talking heads2 Organi,e

<id you ask yourself" ;hat's this story about2 ;hat's my point2 <id you take time for a -ot outline or otherwise order the information in the most natural way2 0raft <id you truly draft( putting aside your notes and writing freely through the story( or did you plod along and cobble a piece straight from your notebook2 Re#i%e If the abo e answers are all %yes(% your -ob now is easier. If they're %no(% you're about to disco er your story is thin and full of holes. Re$riting can&t "elp $"en (o "a#e no )aterial to re$rite $it"1 ,o back to %report% and %organi9e(% or re isit %idea.% W"at to acco)pli%" &s you peruse your finished draft( ask yourself about what's working. 8ere's a short checklist of tasks for this stage" 2oc % &re you con eying one dominant meaning( or are you simply emptying the notebook2 The reader will spot an unfocused story within the first graf or two and turn the page. If you're still feeling fu99y at this stage( ask yourself" ;hat's my point2 Rea! Role?play the reader. & specific reader. Gom is a fa orite for many writers. ;ould she understand2 ;ould she like it2 ;ould she keep reading2 If not( what would make the story understandable and in iting2 Or!er ? Is it natural2 <oes the information unfold in pleasing way2 If not( maybe you didn't outline( and should do so now. 0e#elop <o you need to do more reporting2 <o you ha e 7wiss cheese rather than a story2 ;hat can you do in the time remaining2 *!it Rene J. Aappon poses three useful 4uestions in his landmark book( %The ;ord.% I suggest asking them of yourself and rewriting accordingly" 8a e I said what I meant to say2

8a e I put it as concisely as possible2 8a e I put things as simply as possible2 ;hat to double?check

5nce those concerns are addressed( it's time to turn to the finer points. &mong the things to double?check" Wor! c"oice Rely on nouns and erbs( not modifiers# make sure erbs are acti e# a oid cliches and -argon# be sure your idiom is both appropriate to the story and accurately employed" This is no time to be >ogi 'erra( unless you want to be funny. 3oice <oes the story's oice arise from the story( or are you forcing an artificial oice on it2 &re you using humor to con ey something serious or e en tragic2 &re you telling a hilarious or e ocati e tale in a monotone2 <o you sound like an institution rather than a human being2 Read it aloud if you ha e to# rewrite not -ust with your mind( but with your ear. Context = ents( by and large( don't -ust pop up on the radar screen# they ha e histories. &re you con eying that sense to the reader2 &re you explaining where the story came from( and where it's going2 Acc rac( Is your information accurate2 Is it presented in an accurate context2 I)ager( ;hen you use imagery (4uiet as a still sea( for example)( is it appropriate to the story's meaning( or does it force the mind to stretch for a connection2 Gra))ar Aopy editors ha e to fix this in stories e ery day. It ain't their -ob# it's the writer's. Spelling +se spell?check before you ship e ery story( without fail( then reread for what spell?check missed. *n!ing 8a e one when you start. It gi es you a destination and gi es the reader a sense of closure. &nd it can guard against unnecessary trimming. 'ut don't be fooled" = en the best ending can't make up for a flabby opening or midsection O the sort of inexactness produced by poor reporting. (In other words( good front?end work can guarantee a good closer.)

.ake t"e ti)e

The essence of re ision is to reali9e that it isn't an extra piece of work tacked onto the end of your day# it's where the payoff for your hard work comes( where you make it sing. The problem( in newspapers( is that re ising time isn't handed to you# you ha e to make it. 5n deadline and off. If you aren't doing so now( start. >ou may find yourself opening the door to a le el of 4uality you ha en't achie ed before. &nd frankly( you'll produce what we're in business for" better stories.

7ubtopic E " T"e

Greate%t Writing Tip% t"e Worl! "a% *#er Seen

C. Writing c"eckli%t Recommended by" & i 'ass( Northern Illinois +ni ersity ,ood ;riting has" accurate information interesting phrasing appropriate word choices clear transitions no misplaced modifiers parallel construction proper se4uence of tenses correct grammar correct spelling and punctuation &ssignment" ,o through an article and decide what kind of grade it should recei e on each of the abo e categories on a scale of C to CF. B. T"e great le!e te%t Recommended by" 1athy Norton( 3oughkeepsie Journal Read the lede for an article. Now ask( does this sentence make you want to read the next sentence and the rest of the story2 &ssignment" ,o through a series of articles( reading only the lede. &fter you read the lede( ote as a group on whether you are enticed to read the rest of the story. Talk about what it does (or doesn't do) that draws you into the story. H. 2in!ing t"e foc % Recommended by" Ahip 7canlan( 3oynter Institute

= ery story is about something. The best stories ha e a focus and a point. Try asking these 4uestions" ;hat's the news2 ;hat's the story2 ;hat information surprised me the most2 ;hat will surprise my reader or iewer2 ;hat one thing does my reader need to know2 &ssignment" Read one story as a group and then see if you can answer the 4uestions abo e regarding that article. ;hen you're done( see if asking these 4uestions helped you decide if you'd change the way the story you read was put together. E. Acti#e lang age Recommended by" <enny ;ilkins( 7t. 'ona enture +ni ersity = eryone tells you to write using an %acti e oice.% &nyone e er tell you how to do that2 8ere's one suggestion. &ssignment" Try going through a story and highlighting e ery %are(% %is(% %were(% and %was.% Now find a way to rewrite the sentence using a stronger erb. L. *!it (o r o$n cop( Recommended by" <enny ;ilkins( 7t. 'ona enture +ni ersity &ssignment" It's almost impossible to edit your own copy. 'ut try this out. 3rint out a copy of your article and read it backwards. This should help you see your copy through fresh eyes. *ind any errors or awkward phrases2 :. Circling proble) area% Recommended by" <enny ;ilkins( 7t. 'ona enture +ni ersity Typically( longer sentences are where you find grammatical errors( needless prepositions and other impediments to good writing. &ssignment" ,o through an article and circle e ery period using a bright highlighter. Now look at the pattern of periods ? looking for areas where you see longer sentences. 7ee if this helps you identify sentences that may be too long. 7ee if the story has a good balance of long and short sentences. I. S"o$ )e t"e !etail% Recommended by" Rene 1alu9a( <ay city editorPtraining editor( 7t. Aloud Times 7how( don't tell. (8owe er( you ha e to ha e reported the details well to be able to do that.) &ssignment" ,o through an article and find examples where a writer could ha e benefited from using details to show the reader something rather than -ust telling them about it. &lso( find examples where the writer succeeded in showing you something. K. 2in!ing t"e n tgraf Recommended by" Nancy ;eil( &ssistant News =ditor( I<, News 7er ice 8ighlight the nutgraf or put it in bold or whate er and go back to it as you write to make certain that the story supports it.

&ssignment" 8ighlight the nutgraf (the sentence that pro ides an o er iew for what the story is about) and then go through and find places where the article gets away from the main focus outlined in this nutgraf. (If you substitute %thesis statement% for %nutgraf% this works beautifully for all papers@) D. 4 ote alert Recommended by" Nancy ;eil( &ssistant News =ditor( I<, News 7er ice ,o on 4uote alert. Gake sure e ery 4uote you use is worth using. 5therwise paraphrase. &ssignment" ,o through an article and highlight the 4uotes. <ecide if it's an effecti e 4uote. <oes it add to the story2 ;hy2 7hould it be shorter2 7hould it be longer2 7hould it be paraphrased2 (>our -ob as a reporter is to make sure you get good 4uotes) CF. O)it nee!le%% $or!% Recommended by" Nancy ;eil( &ssistant News =ditor( I<, News 7er ice 'e on guard for words you don't need. ;atch for phrases like %in order to% and others that add words without saying more. &ssignment" ,o through an article and highlight all the words that can be eliminated without changing the meaning of the story. CC. W"at&% t"e %tor( $ort"5 Recommended by" &ntoni G. 3i4uQ( <irector( Gediaccion Aonsultores P +ni ersidad de Na arra( 7pain ;ould you pay LF cents (or F(DF euros( or the price of your paper) tomorrow for T8I7 piece you are writing2 &ssignment" ,o through an issue of a newspaper and find one story that makes the paper worth the price you paid for it. ;hat makes the story worth the money2 If you can't find any( find the stories that ha e the potential to become LF?cent stories( and decide on what the writer could ha e done to make the piece stronger. CB. Are (o r lip% )o#ing5 Recommended by" 0aurie 8ert9el( Ginneapolis 7tar Tribune Read your story out loud. >ou will hear awkward phrases and know if a sentence is too long or difficult to read. &ssignment" Read a story out loud and see if( in doing so( you find places where the flow doesn't work or where you'd make changes of any sort based on what you hear. CH. Searc" an! !e%tro( Recommended by" 0aurie 8ert9el( Ginneapolis 7tar Tribune 7earch and destroy. &fter your first draft do a computer search on weak words (there( it( etc.) or weak erbs or (in my case) ad erbs (do a search on 0>) or any other phrases or words you tend to use as a crutch( and then change them to something stronger. &ssignment" ,o through an article and highlight the weak words identified abo e and decide whether a new word or no word works better. CE. .aking a po%iti#e o t of a negati#e Recommended by" 0aurie 8ert9el( Ginneapolis 7tar Tribune Aon ert negati es to positi es2 *igure out a way to say what is( instead of what isn't. 7aying what is is usually shorter( clearer and more direct. (5b iously( there are times when for arious writerly reasons

you want to break this rule.) 0ook for %not% and %wasn't% (or %isn't%) or %no% and see if it makes sense to rewrite. =xamples" %The mo ie wasn't engaging and most people didn't stay for the end.% Ahange to" %The mo ie was dull and people left early.% or( %The Aity Aouncil ote was not unanimous.% change to" %The council's ote was di ided.% &ssignment" ,o through an article and find %negati es(% sentences that talk about things that aren't. 7ee if they can be reworded to be positi e statements. CL. To!!ler $it" a b tc"er knife Recommended by" 0ex &lexander( assistant features editorPA&R team leader( ,reensboro News R Record Trust yourself with ad-ecti es the way you would trust a toddler with a butcher knife. &d-ecti es often imply sub-ecti e alue -udgments that your reporting might or might not support (and that readers will interpret as bias in either case). =xample" *ind ob-ecti e terms for what you're trying to con ey. <on't call the city council member %ineffecti e.% 7ay he has set a record for missed meetings( was on the winning side of only two disputed otes in the past year and hasn't gotten a single motion or resolution enacted since taking office. <on't say Reporter S is la9y. 7ay that Reporter S has failed to consult the internal archi es for his stories( resulting in the following published errors of fact.... >ou get the idea. It's longer( but it's fairer and more accurate. &ssignment" ,o through an article and highlight all the ad-ecti es and decide what purpose the ad-ecti es ser e. &re they implying something2 &re they necessary2 &re they a substitute for details2 C:. W"o&% t"e %tor( abo t5 Recommended by" Aarolyn 'ower( Tampa Tribune Ne er assume that the official iew is the peg of the story. ;hen I teach about writing( one of the points I urge reporters to consider is whose story is this. 5ne example" Aity Aommissioner John 8iggins will apologi9e to the woman he e-ected from a public meeting to settle her long and costly lawsuit against him( the city attorney's office said. (This is a classic case of the reporter forgetting hePshe gathers information and then determines the direction of the story.) Rewritten" &fter two years of fighting city hall( Rita Goore( IB( is getting what she wanted" & formal apology from ex?Gayor John 8iggins. Not perfect( but much( much better. &ssignment" ,o through an article written about some kind of go ernment?related e ent( and decide if the point of iew of the article should be changed (Is it written through the eyes of the public officials( when it could be stronger through the eyes of the taxpayers( residents of the community( etc.) CI. Rea!6 Recommended by" 0ynn 1alber( The 3alm 'each 3ost Gy best tip is" Read good writers. &ctually( the basic is %Just R=&<@% ? it's surprising how many reporters don't. &ssignment" ,o through your papers and find nuggets of great writing. 7hare with your group what

makes these nuggets great ? strong detail( great 4uote( clean writing( concise language( etc. *ind one of your fa orite things. CK. Tell t"at %tor( in one $or! Recommended by" Gichelle 8iskey( reporter( &tlanta Journal Aonstitution &ttach a 5N= ;5R< theme to your story ? i.e. greed( monopoly( trust( hunger( etc. ?? to keep you focused. &ssignment" ,o through an article and see if you can apply one word to it ? a theme as identified abo e. Then look back o er the article and see if there are places in the story that de iate from this theme and therefore don't belong. <oes gi ing a theme or one word to the story make you want to make changes or ad-ust the story in some way2 CD. 0etail%, !etail% Recommended by" John 8atcher( Aenter for Aommunity Journalism &ssignment" It's been said that great writing is rich with detail and lean on fluff. ,o through an article and find the details that show a -ournalist was paying attention( not -ust to what people were saying( but to where they were saying it( how they were saying it( and what was going on around them as it was being said. If you can't find an example of this( find an example of a story that would ha e been helped with these same details. BF. T"e great 7argon " nt Recommended by" unknown &ssignment" ,o through an article and highlight all -argon words. These are the words used by public officials( police officers and sports writers that may not make any sense to the a erage readers. 0ook at those words and see if you can find a way to translate them for the reader. BC. Ste#e&% fa#orite% Recommended by" 7te e 'uttry( ;riting AoachPNational Aorrespondent( 5maha ;orld?8erald ;rite as you report. <on't wait until you' e gathered all your information to start telling the story. <on't insist on writing the lede first. 7ometimes the process of writing the story will bring out the best lede. ;rite without notes. Notes can be a distraction. The story should be in your head and your heart. ,o back to the notes for fact?checking. BB. Before (o $rite Recommended by" Nancy ;eil( &ssistant News =ditor( I<, News 7er ice 5rgani9e notes and information( de eloping a system that works for you. <ifferent color inks( stars( whate er. +se story wheels or write down key points of the story before you write so that you don't forget any of the elements you want to include. BH. Walk a$a( Recommended by" Nancy ;eil( &ssistant News =ditor( I<, News 7er ice 3ro ided you aren't on right?this?second deadline( lea e the office if you get stuck. 0ikewise( get up and mo e around when you're working on long stories or stories with difficult topics (get away from the murder and mayhem you are writing about). Take a walk outside. ,o to your fa orite store and immerse yourself in the tactile pleasures of shopping for CL or BF minutes( relax and let your mind go where it wants with the story. 7ubtopic L"