Manner:

Cause:

Attendant Circumstances:

2. Robberies.—Another large class of news stories is concerned with robberies of various kinds. Unfortunately for the reporter, very few robberies are alike; beyond the common ground of the interest in the amount stolen and the cleverness of the robber's work, there is seldom any one thing that may be looked for as the feature of a robbery story. The reporter must decide what in the story makes it worth printing.

Robbery stories may include anything from petty thievery to bank defaulting. Some of the possibilities are horse and automobile stealing, burglary, hold-ups, train and street-car robbery, embezzlement, fraud, kidnapping, safe-cracking, shop and bank robbery. It is well for the reporter who has to cover a story of this class to acquaint himself with the distinctions that characterize the various kinds of robbery and the various names applied to the people who commit this sort of crime: e.g., robber, thief, bandit, burglar, hold-up man, thug, embezzler, defaulter, safe-cracker, pick-pocket.

In general the chief interest in robbery stories is in the result of the work—the amount taken—usually accompanied by a term to designate the sort of robbery. Just how the crime was committed is often the feature, as in a train robbery or a clever case of fraud. If the victim or victims are at all well known their names may become the most interesting thing in the story—or even the name of a well-known criminal or band of robbers. In some stories, especially if another paper has already covered the story, the pursuit or capture of the criminals is often interesting; the stories of bank robberies often begin in this way. Other attendant circumstances, such as the number of persons who witnessed the crime, may be the feature. In hold-ups, burglaries, and crimes of that sort, the death or wounding of the victim is often played up. Sometimes the reason for the crime, as in a kidnapping case, is of great significance. In the case of a robbery of a bank or any other institution which depends upon credit for its business, the story usually begins with, or at least mentions near the beginning, the present condition of the robbed institution. It is safe to say that in no case is the name of the criminal, the manner of his arrest (if it is not unusual), the police station to which he was taken, or the charge preferred against him worth a place in the lead.

Some robbery stories from the daily press:

Amount taken:

Manner of hold-up:

Unusual sort of pickpocket:

Unusual thieves:

Pursuit and capture:

Present conditions of robbed bank (second paragraph of an embezzlement story):

Unusual sort of burglar:

3. Murder.—The reports of crimes of this sort can hardly be classified, for there are so many things that may be worth featuring in any murder case. The story itself is usually of such importance that the mere fact that a murder has been committed gives it news value even if there is nothing unusual in the crime—just as in the case of a featureless fire story that begins with "Fire." The handling of a crime depends upon the character and circumstances; the reporter must weigh the facts in each case for himself. However, we usually find a feature in the number of persons murdered, the manner in which the crime was committed, the name of the victim, if he or she is well known, the reason for the deed, or in some of the many attendant circumstances, such as arrest, pursuit, etc. One rule must always be followed in the reporting of a murder story: the reporter must confine himself to the necessary facts and omit as many of the gruesome details as possible. He must tell it in a cold, hard-hearted way without elaboration, for the story in itself is gruesome enough. Just as soon as a murder story begins to expand upon shocking details it becomes the worst sort of a yellow story.

Examples of murder stories from the newspapers:

Manner:

Motive:

Prominent name:

Resulting pursuit:

Attendant circumstances:

4. Suicide.—What is true of murder stories is also true of suicide. Each individual case has an unusual feature of its own. We ordinarily find a good beginning in the manner of the suicide, the name of the person who has killed himself if he is well known, the reason for the act, or some one of the attendant circumstances—often the manner of resuscitation if the crime is unsuccessful. For some unexplained reason many papers do not print accounts of ordinary suicides, except when the individual is prominent. At any rate the story must be told without gruesome details and as briefly as possible.

Examples from the press:

Name:

Motive:

Here the manner is the feature, but it is not played up in the first line because it is too horrible.

5. Big Stories.—The big stories of catastrophes are usually handled on a large scale—played up, as the newspaper men say. The story in itself is of sufficient importance to make it unnecessary to play up any single feature of the story. However, the reporter, in looking for a good beginning, often finds it in the most startling fact in the story. If he is reporting a riot he usually begins with the number of killed or injured, the amount of property destroyed, the character of the riot, or the cause, as in this example:

In the case of a storm the human life element is of greatest importance, then the damage to property, and last, the peculiar circumstances. For example:

If the story is concerned with a flood the human-life element is first, then the damage, the cause, the freaks of the flood, or the present situation. For example:

6. Police Court News.—The ordinary run of police court news is in a class by itself. Usually the only news value in the story depends upon some unusual incident or circumstance that attracts the attention of the reporter. This is of course the source of many of the stories of crime, mentioned before, but many stories turn up at the police courts which are not concerned with crime, although in some cases they are concerned with criminals. In this field of reporting there are many opportunities for the human-interest story which will be taken up in a later chapter. When the incident is reported in an ordinary news story the feature is usually in some attendant circumstance and the story might well be classed with one of the above groups. Here are two examples from the daily press:

7. Reports of Meetings, Conferences, Decisions, etc.—This group includes all reports of meetings, or conferences, of bodies of any sort, political or otherwise, reports of judicial or legislative hearings or decisions, or announcements of resolutions passed. Such as:

There is always one thing in these stories that gives them news value—the purpose or result of the conference, hearing, or announcement. This purpose or result, of course, must be played up. The one point that the reporter should remember is that a well-written lead begins with the result or purpose of the meeting or announcement rather than with the name of the meeting or the name of the body that makes the announcement. Never begin a story thus: "At a meeting of the Press Club held in the Auditorium last night it was resolved that——" Transpose the sentence and begin with a statement of what was resolved. In the following story the order is wrong:

The import of the decision is buried; it should be written thus:

In these stories, as in all other news stories, the lead must begin with the fact or statement that gives the story news value. Burying this fact or statement behind two or three lines of explanation spoils the effectiveness of the lead. A student of journalism may gain very good practice in the writing of news stories by looking over the leads that appear in the daily papers and transposing those leads which bury their news behind explanations. The first line of type in a lead is like a shop's show window and it must not be used for the display of packing cases.

8. Stories on Other Printed Matter.—A large part of a newspaper's space, especially in smaller cities, is devoted to stories based on printed bulletins, announcements, city directories, legislative bills, and published reports of various kinds. Sometimes a news story is written upon a pamphlet that was issued for advertising purposes—because there is some news in it. In all of these stories the reporter must look through the pamphlet to find something of news value or something that has a significant relation to other news. Smaller papers often print stories on the new city directory; the increase or decrease in population is treated as news and a very interesting story may be written on a comparison of the names in the directory. In university towns the appearance of a new university catalog or bulletin of any sort is the occasion for a story which points out the new features or compares the new bulletin with a previous one. Reporters and correspondents in political centers, like state capitals, get out stories on committee and legislative reports and on new bills that are proposed or passed by the legislature. The writing of these stories is very much like the reporting of a speech, which will be discussed later. The newest or most interesting feature in the report or bill is played up in the lead as the feature of the story, followed by the source of the story, the printed bulletin upon which the story is based; thus:

These eight classes of news stories do not include all the news stories that a newspaper prints, but they are in a way typical of all the others that are not mentioned. It will be noted from these that all news stories, just like the fire story, are usually written in about the same way. Each one has a lead which begins with the feature of the story—i.e., the fact or incident in the story which gives it news value and makes it of interest—and concludes by answering the reader's questions, when, where, who, how, why, concerning the feature. Each story begins again after the lead, and in one or more paragraphs explains, describes, or narrates the incident in detail and in logical order. This body of the story which follows the lead, while following in general the logical order, is so written that its most interesting facts are near the beginning and its interest dwindles away toward the end. This is to enable the editor in making up his paper, to take away from the end of any story, as we have seen before, a paragraph or more without spoiling the story's continuity or depriving it of any of its essential facts. The form of the conventional fire story may be used as a model in the writing of any news story.

In writing the body of a story to explain, describe, or narrate the incident mentioned in the lead, every effort should be directed toward clearness. This is particularly true of stories which are in the main narrations of action. The number of facts that may be included must depend upon the length of the story; if all of the facts cannot be included without overburdening the story, cut out some of the details of lesser importance, but treat those that are included in a clear readable way. Short sentences are always much better in newspaper writing than long involved sentences. Pronouns should always be used in such a way that there can be no doubt in regard to their antecedents. If a relative clause or participial expression sounds awkward make a separate sentence of it. In other words, be simple, concise, and clear—that is better in a newspaper than much fine writing.

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IX

FOLLOW-UP AND REWRITE STORIES

News ages very rapidly. What may be news for one edition is no longer news when another edition goes to press an hour later. A feature that may be worth playing up in a morning paper would not have the same news value in an evening paper of the same day. The news grows stale so quickly because new things are continually happening and new developments are continually changing the aspect of previous stories. If a story has been run through two or three editions and new developments have changed it, the story is turned over to a rewrite man for consequent alteration. A story in a morning paper is no longer news for an evening paper of the same date, but a clever rewrite man, with or without new developments added to the story, can recast it so that it will appear to contain more recent news than the original story. The story of an arrest in a morning paper begins with the particulars of the arrest; but when the evening paper's rewrite man has rearranged it for his paper it has become the story of the trial or the police court hearing which followed the arrest. Perhaps the evening paper sends a man to get the later developments in the case, but every rewrite man knows the steps that always follow an arrest and he can rewrite the original story without additional information. His account of the later developments is called either a rewrite or a follow-up story, depending upon the method employed. The same fundamental idea of rejuvenating the former story governs the preparation of both the rewrite and the follow-up story, but while the rewrite story contains no additional news, the follow-up presents later facts in addition to the old news.

1. The Rewrite Story.—The rewrite story is primarily a rehashing of a previous news story without additional facts. It attempts to give a new twist to old facts in order to bring them nearer to the present time. Without the aid of later facts the rewrite man can only select a new feature and revise the old facts. For example, suppose that a $100,000 grain elevator burns during the night. The fire would make a big story in a city of moderate size and the papers next morning would treat it at length. If no one were killed or injured the story would probably begin with a simple announcement of the fire in a lead of this kind:

Then the reporter would describe the fire at length, including all obtainable facts. By afternoon almost every one in the city has read the story—and yet the afternoon papers must print something about the big fire. If no new facts can be obtained the previous story must be rehashed and presented with a new feature that will make it appear to be a later story. It is useless to begin the evening story with a mere announcement of the fire, for that is no longer news, and the rewrite man must find a new beginning to attract the attention of his readers. Perhaps in looking over the morning story, he finds that the fire was the result of spontaneous combustion in the grain stored in the elevator. In the morning story this fact was rather insignificant in the face of the huge loss, and most readers passed over it hastily. The rewrite man, however, who has no later facts at his command, may seize it as a new feature. Instead of beginning his story with the fact of the fire, which is already known, he begins with the cause, which appears to be later news. His lead may be as follows:

Or if the rewrite man is not so fortunate as to discover a new feature as good as this, he may have to resort to beginning with a picture of the present results of the fire—thus:

It will be noticed that, while these new rewrite leads begin with a new feature, each new lead contains all the facts presented in the previous lead and is told with an eye to the man who has not read the earlier account. After the lead the rewrite man retells the whole story for the benefit of readers who did not see the morning papers and rearranges the facts so that they appear new to those who read the previous stories. Facts which the other papers buried he unearths and displays; details which appear to be later developments he crowds to the beginning. The whole story is sorted and rewritten in a new order and with a new emphasis. The result is a rewrite story which appears to be later, although it contains no new facts at all. It is seldom, of course, that such a rewrite story is used for local news, for very rarely is it impossible for a later paper to discover new facts. But in the case of news from the outside world, from other cities, the simple method of rehashing old facts must often be resorted to. If the story is based upon a single dispatch announcing an earthquake in Hawaii or a shipwreck in mid-ocean, many rewrite stories must be printed on the same facts before another message brings later news and additional details. An example of this is the treatment of the first few stories of the wreck of the White Star liner Titanic. The story was a big one, but the first dispatches were very meager and many rehashings of these few facts had to be printed before later and more definite news could be obtained.

The simple rewriting of an old story ordinarily involves a condensation of the facts. If a morning paper printed two thousand words on the grain elevator fire above, an afternoon paper of the same day would hardly treat the story at such length. For the story is no longer big news. If a story has run through the first editions of a morning paper it would be cut down, as well as rehashed, in the later editions of the same paper. The story of the fire loses its initial burst of interest after the first printing, and only the essential facts and the facts that can be rejuvenated can be reprinted. The 2,000-word version in the morning paper may be worth only five hundred words or less four hours later.

2. The Follow-up Story.—If new facts are added to a story between editions the new version is no longer a simple rewrite story. It becomes a follow-up story, for it follows up the subsequent developments in the previous story and corresponds to the second or succeeding installments of a serial novel in which each installment begins with a synopsis of previous chapters. For example, if, in the grain elevator fire story, the body of a watchman were found in the ruins after the morning papers have gone to press, the story would immediately have a different news value for the evening papers. The story of the big fire is old, but the discovery of the body is new. Hence the rewrite man would begin with the later development—perhaps thus:

The new story, while retelling the principal facts in the previous account, would give prominence to the latest news, the discovery of the body. As an example from a newspaper, let us take the follow-up of a murder mystery. The first stories on this murder simply said that a grocer had been found dead in the cellar of his store and murder had been suggested. The follow-up on the next day (printed here) deals with a new development—has a new feature—and carries the story one step further in the attempt to unravel the mystery:

3. Analysis.—So far we have treated the rewrite story and the follow-up story separately, but for the purposes of analysis and study they may be treated together, because the same fundamental idea governs both. Dissection of the follow-up story will also show us what the rewrite story is made of.

From the above clippings it will be seen that the lead of the follow-up story is very much like that of any news story. The lead has its feature in the first line and answers the reader's questions concerning that feature. It is simply a new story written on an old subject which has been given a new feature to make it appear new. Furthermore, it will be noticed that the lead of the follow-up story is complete in itself, without the original story that preceded it. Although the whole idea of the follow story is based on the supposition that all readers have read every edition of the paper and are therefore acquainted with the original story, yet for the benefit of those readers who have not read the previous story, the follow-up must be complete and clear in itself. New facts are introduced into the follow story, but its lead tells the main facts of the original story so that no reader will be at loss to understand what it is all about—in other words, it gives a synopsis of previous chapters. In many follow-up stories the new developments are supplemented by an entire retelling of the original story. This is especially true when one paper is rewriting a story which broke too late for its preceding edition and was covered by a rival paper. At any rate, every follow-up story, like every other news story, must be so constructed as to stand by itself without previous explanation.

This is a follow-up of a story two days before. Every reader of the paper probably knew everything that had been printed previously about the fire, and yet this lead very carefully recalls the fire to the reader's mind. Later in the story the principal facts of the original story are retold as if they were new and unknown.

It is interesting to see what in any given newspaper story can be followed up for a later story. The would-be reporter may get good practice in writing follow-up stories from the mere attempt to study out the next step in any given new story. With this next step as his feature he may try to write a follow-up story without additional information, and then compare it with other follow-up stories. For every news story contains within it clues to what may be expected to follow.

When any serious fire occurs certain additional facts may always be expected to follow. The finding of more dead, the unravelling of a mysterious origin, the re-statement of the loss, and the present condition of the injured are some of the possibilities that a rewrite man considers when he tries to prepare a follow-up story on a fire. The Washington Place fire in New York on March 25, 1911, furnished admirable material for the study of the rewriting of fire stories. The fire occurred on Saturday afternoon too late for anything but the Sunday editions. The original story as it appeared in the Sunday papers and the Monday issues, of papers which had no Sunday editions, began like this:

The Monday stories on the fire followed up various phases as shown in the following. Each one while indicating that the story was a follow-up retold the principal incidents in the fire.

On Tuesday other lines opened up for the rewrite man:

And so the stories ran for many days until newspaper readers had lost all interest in the fire. Most of the stories were simply retellings of the original story with a new bit of information in the lead. People were ravenous for more details about the fire and the follow stories supplied them until they were satisfied. Rarely is a fire worth so many retellings.

A serious accident is often followed up in one or more editions. If many people are killed or injured, the revised list of dead or the present condition of the injured always furnishes material for a follow-up. Sometimes the fixing of the blame, as in a railroad accident, or other resulting features are used as the basis of the rewriting.

In the case of a robbery the commonest material for a follow-up story is the resulting pursuit or capture. Very often a final report of the loss, the present condition of a robbed bank or public institution, or perhaps the regaining of the booty, makes a feature for a new story. But usually the follow-up is concerned with the pursuit, capture, or trial. This is especially true if the original story has been told by an earlier paper and another later paper wishes to print a more up-to-date story on the robbery, such as:

The most usual follow-up of a murder story is interested in the pursuit, capture, or trial of the perpetrator of the deed. For example:

Very often the present condition of the victim of an attempted murder calls for a new story. The stories following the attempted murder of Mayor Gaynor of New York are good examples of the latter. If a mystery surrounds the crime a possible solution is grounds for a new story. The stories which might follow the unraveling of the mystery surrounding the fictitious death of the grocer, mentioned at the beginning of this chapter, would be second-day murder stories. The original story, let us say, was something like this:

The next story on the murder would be concerned with the unraveling of the mystery, thus:

And so the stories might run on day after day following the solution of the case like the succeeding chapters of a continued novel, and each one gives the synopsis of the preceding chapters in its lead, as every good follow-up story should do.

Suicide stories seldom offer material for follow-up stories unless there is some mystery surrounding the case. Sometimes the present condition of a resuscitated victim of attempted suicide or the disposition of the estate of a suicide offers material for rewriting.

Serious storms and floods are usually followed up for several days. Readers are always interested in the present condition of the devastated region. Very often the list of dead and injured is revised from day to day, and any attempt to lend aid to the unfortunate victims is always a reason for a later story.

Any meetings, conferences, trials, conventions, or the like must be followed up day by day with succeeding stories. Each story is complete in itself, but each one adds one more chapter to the report of the meeting. This method of following a continued proceeding calls for a series of follow-up stories; examples of the stories that follow a continued legal trial will be given later under Court Reporting.

Many other illustrations might be given of follow-up stories that appear daily in the newspapers. In the last analysis, the follow-up or the rewrite story is nothing more than an ordinary news story, and as such must be written in the same way. It begins with a lead which plays up a feature and answers the reader's questions about the subject; the body of the story runs along like the body of any news story. But it is different in being a later chapter of a previous account; while complete in itself, it must not only indicate the previous story, but must tell its most important facts for readers who may have missed the previous story. It is simply a news story which is tied to a previous story by a string of cause and effect.

4. Following Up Related Subjects.—In this connection it may be well to mention another kind of follow-up story that is usually written in connection with big news events. It is written to develop and follow up side lines of interest growing out of the main story. In its most usual form it is a statistical summary of events similar to the great event of the day—such as similar fires, similar railroad wrecks, etc., in the past. Any big story attracts so much attention among newspaper readers that the facts at hand are usually not sufficient to supply the public's demand for information on the subject. To satisfy these demands editors develop lines of interest growing out of the main event. They interview people concerning the event and concerning similar events; they describe similar events that have taken place in the past; they summarize and compare similar events in the past—in short, they follow up every line of interest opened up by the big story and write stories on the result. These stories are of the nature of follow-up stories in that they grow out of, and develop, the main story in its greatest extent.

For example, the wreck of the ocean liner Titanic called for innumerable side stories because the public's interest demanded more facts than the newspapers had at hand to supply. Hence, the papers wrote up similar shipwrecks in the past, gathered together summaries of the world's greatest shipwrecks, interviewed people who had been in any way connected with shipwrecks or with any phase of this shipwreck, described glaciers and icebergs, estimated the depth of the ocean where the Titanic sank, described the White Star liner and other liners, pictured real or imaginary shipwrecks, and developed every other related subject. The real news in all this mass of material was very meager, but the related stories satisfied the greedy public and helped newspaper readers to understand and to picture the real significance of the meager news.

In the same way a disastrous fire, like the burning of the Iroquois Theater, calls for innumerable outgrowing stories. Even when the event reported in the main news story is not sufficiently important to call for related stories, it is often accompanied by a list (usually put in a box at the head of the story) of other similar events and their results. These follow-up stories of related subjects are, in form, very much like feature stories, although they usually conform to the follow-up idea of mentioning in their leads the main news event to which they are related.

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X

REPORTS OF SPEECHES

The report of a speech or a sermon or a lecture may come to a newspaper office in one of two ways. A copy of it may be sent to the paper or the reporter may have to go to hear the address and take notes on it. Very often the speaker kindly sends a printed or typewritten copy of his speech to the editor a few days in advance with the permission to release it—or print it—on a certain date, after the speech has been delivered in public. If the speech is to be printed in full, the task is a mere matter of editing and does not trouble the reporter. Very few speeches receive so much space. The others must be condensed and put in shape for printing.

After all, the usual way to get a speech is to go to the public delivery of the speech and bring back a report of it. At first sight this is a difficult task and green reporters come back with a very poor resumé. However, a word or two of advice from the editor or some bitter experience eases the way. Some advice may be given here to prepare the would-be reporter beforehand.

Some reporters who know shorthand prefer to make a stenographic report of the entire speech and rearrange and condense it in the office. This method is advisable only in the case of speeches of the greatest importance; it is too laborious for ordinary purposes, since the account includes at most only a part of the speech. The best way, doubtless, to get a speech is to take notes on it. And yet this must be done properly or there is a danger of misinterpretation of statements or of undue emphasis upon any single part of the speech. The report of a speech should be as well balanced and logical as the speech itself, differing from the original only in length and the omission of details. The speech report must be accurate and truthful or the speaker may appear at the office in a day or two with blood in his eye. A few rules may be suggested as an aid to accuracy and truthfulness.

In the first place, do not try to get all the speech; do not try to get more than a small part of it—the important part. There are two ways of doing this. If the speech is well arranged and orderly it is easy to tell when the speaker has finished one sub-division and is beginning another. Each division and subdivision will naturally contain a topic sentence. Watch for the topic sentences and get them down with the briefest necessary explanation to make them clear. Political speeches or impromptu talks are, on the other hand, not always so logically arranged. Sometimes it is possible to get the topic sentences, but more often it is not. Then watch for the interesting or striking statements. You will be aided in this by the audience about you. Whenever the speaker says anything unusually striking or of more than ordinary interest the audience will show it by signs of assent or dissent. Watch for these signs, even for applause—and take down the statement that was the cause. If the statement interested the original audience it will interest your readers. Naturally, mere oratorical trivialities must not be mistaken for striking statements.

When you get back to the office to write up the report of the speech you will feel the need of direct quotations—in fact, the length of your report will be determined by the number of direct quotations that you have to use in it—as well as by editorial dictum. It would be entirely wrong to quote any expressions of your own because they are somewhat like the speaker's statements, and it is impossible to quote anything less than a complete sentence in the report of a speech. Hence you will need complete sentences taken down verbatim in the exact words of the speaker. Make it a point to get complete sentences as you listen to the speech. Whenever a striking statement or an interesting part of the speech seems worth putting in your story get it down completely. You will find yourself writing most of the time because, while you are writing down one important sentence, the speaker will be uttering several more in explanation and may say something else of interest before you have finished writing down his first statement. Strict attention, a quick pencil, and a good memory are needed for this kind of work, but the reporting of speeches will lose its terrors after you have had a very small amount of practice.

Just as any news story begins with a lead and plays up its most striking fact in the first line, the report of a speech usually begins with the speaker's most striking or most important statement. As you are listening to his words watch for something striking for the lead—something that will catch the reader's eye and interest him. But you must exercise great care in selecting the statement for the lead. Theoretically and practically it must be something in strict accordance with the entire content of the speech and, if possible, it should be the one statement that sums up the whole speech in the most concise way. Somewhere in the discourse, at the beginning, at the end, or in some emphatic place, the speaker will usually sum up his complete ideas on the subject in a striking, concise way. Watch for this summary and get it down for the lead. However, there may be times when this summary, though concise, will be of little interest to the average reader and you will be forced to use some other striking statement. Then it is perfectly permissible to take any striking statement in the speech and use it for the lead, provided that the statement is directly connected with the rest of the discourse. But be fair to the speaker. Do not play up some chance remark as illustrative of the entire utterance; don't bring in an aside as the most interesting thing in his speech. If a preacher forgets himself to the extent of expressing a chance political opinion, it would obviously be unfair to him for you to play up that remark as the summary of his sermon. Your readers would get a false impression and the preacher would be angry. If he considers the chance remark of real importance in his sermon he will back it up with other statements that will give you an excuse for using it. In brief, watch for the most interesting and most striking statement in the entire speech, and in selecting this statement be fair and just and try to avoid giving a false impression of the speaker or of the speech. If you follow this rule you will never be in any danger of getting your paper into difficulties.

Another rule in reporting lectures, speeches, etc., applies to the writing of all newspaper stories. Write your report at once while the speech is still fresh in your mind. Your report must preserve the logic and continuity of the speech—it must be a fair resumé. Your notes will be at best mere jottings of chance sentences here and there. Do not allow them to get cold and lose their continuity. Write the report at once.

The writing of the report of a speech, lecture, or sermon is the same whether it is taken from a printed or stenographic copy of the discourse or from notes. It is perhaps easier to write from your notes because you have the important parts of the speech picked out, ready for use, by the aid of the rest of the audience. Before you can resumé a printed copy of the speech you must go through it and pick out the important sentences which you wish to quote and decide upon the most striking statement for the lead. There is no definite rule that can be followed in this except to take the topic sentences whenever they are stated with sufficient clearness. When you have decided on the statements that you wish to quote you have really reduced the speech to a form practically identical with the notes taken from verbal utterance, and the writing in either case is the same.

The lead of the report is very much like the lead of any other news story—for the report of a speech is really a news story. As soon as the speech is mentioned, the reader unconsciously asks a number of questions about it and the reporter must answer them in the first sentence. As in any other news story the questions are: What? Who? Where? When? and perhaps How? and Why? Reduced to the case of the speech report, they amount to what did he say, who said it, where did he say it, when, and perhaps how and why did he say it. You may answer the what by giving the subject of the discourse or by giving a striking statement in it. In every report the answer to some one of the questions is of greater interest and must be placed in the first line. If the speaker is of more than ordinary prominence his name makes a good beginning. If an ordinary person makes a speech at some meeting of prominence the when or where takes precedence over his name. But in most cases the reporter will find that none of these things is of sufficient importance for the beginning. Most public utterances that he will be called upon to report will be made by ordinary men in ordinary places and at ordinary times, and the most interesting part of the story will be what was said. Sometimes it suffices to give the title of the speech, but more often a striking statement from the speech makes the best beginning. However, although the speaker, the time, the place, etc., are overshadowed in importance by the subject or content of what the speaker says, they must be included in the same sentence with the title or striking statement. That is, in short, we catch the reader's interest with a striking statement from the speech and then delay the rest of the report while we tell who said it, when, where, etc. The necessity of this is obvious.

In accordance with the foregoing there are several possible ways in which to begin the lead of the report of any speech. It would be wrong to say that any one is more common or better than the others; the choice of the beginning must rest with the reporter. And yet there are various things to be noted in connection with each of these beginnings.

1. Direct Quotation Beginning.—Sentence.—The quotation that is to have the first line must of course be the most striking or the most interesting statement in the speech. If it consists of a single sentence—and it cannot be less than a sentence—the report may begin thus: