Interviewing:
When you interview a source, you have to be chummy and
professional, but remember that they are not your customer or the person you
are serving.
It generally is in your source’s best interest that they’re
talking to you. The source could have something at stake in a number of ways:
They could have something to promote (often more the case in soft journalism),
they could have a message they want to get out, or they could use the
publicity. On the other hand, they might just have time to kill and might find
it polite to answer questions.
If it’s someone with skin in the game, I find it best not to
be overt about the transactional nature of this relationship. I can often smell
from a mile away that they have an angle, but by not acknowledging it, I’m
setting an expectation that I have my own job and it’s the same job I always
do.
What if a source
backs out?
The only exception is if someone’s the subject of my story where I might be completely screwed if they
back out of my story.
To provide some more background, there are (for the purposes
of this explanation) two types of sources: The subject of your story and
secondary sources. The type of writing I do is largely human interest meaning that I l don’t have a story without the
subjects’ cooperation. If, for example, the story is Joe Blow and Joe Blow
doesn’t want to be interviewed for a story, then I’m SOL. The best thing to do
is ascertain as early as possible if Joe Blow is down so I don’t waste my time.
Now if Joe Blow is an exceptional cupboard maker and the story is about
cupboard makers, I could potentially just go to someone who’s also a cupboard
maker and make the story about them.
There can be complications to this. Once, I did a short pre-interview (letting someone know
you’re interested in working with them and getting some initial questions in to
ensure they fit the story I’m trying to write; they often come back with a
request to clear it by some PR person before they talk back to me) with a
mini-golf champion. I got her agreement and the story was approved. I never
heard from her again. I once did about 75% of an interview with a rug owner and
then when I got back from lunch, he said he was uninterested. I pulled out my
hair trying to figure out a way to get back in his good graces.
For the most part, I don’t try to say “if you do this, I will promise you that”
or latch onto their angles, but I make general overtures of how I would love to
tell their story and talk about doing it in a way that will be as unintrusive
on their time as possible.
In one case, I interviewed the son of a Salvadorian
pupeseria owner in 2018 and there was sensitive material his father didn’t want
to share (he was involved with the Civil War). At a certain point, the son
capitulated to his dad. I wasn’t going to put the dad’s story in so I knew that
the story addressed the dad’s needs and I just worked around the family to get
the final pieces of information because various forces (economics, not letting
down the editor) made it advantageous to get the article in. After the article
was published, the son read it and he was very pleased.
Human Interest verse
Hard-Hitting News
Note that I also say human
interest, because that is different from hard hitting news. If say Joe Blow
was a cupboard maker who was very controversial or affected the public in some
other way, I can write a story about Joe Blow without his consent. It’s a free
press and I could always write stories about people without their consent but
alienating random cupboard makers who are just doing their own thing, isn’t really
a good business model for local journalism. Now it’s worth noting that on a
couple occasions, I finished articles about people without their consent.
How to Conduct the Interview
The largest thing to keep in mind is time. Your subject is
not on the clock to answer questions so it’s sometimes good to let your subject
know you’re at the halfway mark or have five or ten minutes left. If you’re on
a time crunch and your subject is long-winded, you might even have to do
something that might be a little rude in regular conversation which is explain
as politely as possible that you don’t mean to be rude but in the interest of
the interview, you would like to move the conversation in a different
direction. I just let them know up front (and am socially awkward anyway) that
this conversation might be different than a regular interview.
You should have a few questions that are important, but it’s
best when it’s an unscripted process. I’ve entered interviews with instructions
to write about someone with only a vague idea of who they were and why they
were important and the subject informs me along the way of what the story is.
I follow my curiosity because I see curiosity as my gift. The interview is data
collecting. You’re not sure what you’re looking for, but just ask as much as
you can and don’t think too much what the final article is going to look like.
The Kicker: They’ll
want to see the piece.
At the very end, there will often be the uncomfortable
moment when someone asks if they can see the piece before it goes to
publication. The answer is always no. But here’s the thing: You have the upper hand. You already
have the answers and you are free to publish it. At that point, you can stop
interviewing them and write your story. Remember, you are being chummy, but it
is a transaction and they’re asking you to do something that will compromise
your job.
At the same time, in most situations with regard to local
journalism, you absolutely need to be diplomatic at the very least. Outright
hostility is not going to go over well and if you get a complaint, it could
even cost you standing or your job. But, again you are in the right here.
The best thing to do is show them this: https://www.linkedin.com/pulse/why-you-cant-review-article-before-goes-print-craig-guillot/
What you can do is read quotes back to the source AT YOUR
DISCRETION.
You also should mention that it’s not your final copy that
goes into print because it goes through an editor anyway. I once interviewed a local
stamp and coin store and the editor made the unusual decision not to have
me to correspond with the stamp owner about areas of concern. I called the
stamp store owner about it and he got very upset and I explained that my
promises that I made to him were contingent upon an editor who had say over me.
He got upset and I felt dragged in the middle. A few years later, I passed by
his shop and I apologized about the whole thing and told him I didn’t like the
situation any better than he did. It was a pleasant reunion. Often times, I
play good-cop-bad-cop with my invisible editor as the bad cop if I have to
explain rules.
Wrapping Up
You will have tons of information at your hands and then
you’ll lay it out at some point in the future. Thank them profusely for their
time. Tell them you might need follow-up questions. At this point, you wait
until you write your entire story
and see where the holes are. Put blanks
in the spaces where you don’t know the answer and put those follow-up questions
on top of the text.
That way you only have to bother them once more and not
persistently.
No comments:
Post a Comment