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6-4 Writing A Profile of A Classmate

The document provides instructions for writing a profile of a classmate, including conducting initial and follow-up interviews to discover an interesting focus for the profile, developing questions around that focus, obtaining quotes, and potentially observing the classmate in relevant settings or interviewing others; it also offers tips for maintaining professional standards when interacting with sources.

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Samara Enya
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41 views

6-4 Writing A Profile of A Classmate

The document provides instructions for writing a profile of a classmate, including conducting initial and follow-up interviews to discover an interesting focus for the profile, developing questions around that focus, obtaining quotes, and potentially observing the classmate in relevant settings or interviewing others; it also offers tips for maintaining professional standards when interacting with sources.

Uploaded by

Samara Enya
Copyright
© Attribution Non-Commercial (BY-NC)
Available Formats
Download as DOC, PDF, TXT or read online on Scribd
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6-4 Writing a Profile of a Classmate

Theres no need to go hunting afar for exotic profile subjects. Operating under the assumption that everybody has a great story its just a matter of digging it out consider that the people sitting beside you are likely to make great subjects. Heres how to tease the story out of them. You may also work with a digital or hard copy version of these instructions and tips.

1. Getting started. After pairing up with a classmate, immediately exchange contact information. Youre going to have lots of follow-up questions after your interviews and will want to be able to reach each other by phone or e-mail. 2. Interview 1. Take turns finding out basic information about each other. Start with nonthreatening questions. How old are you? What year in school? What is your class schedule? Family and home situation? Family history? After-school or other extracurricular activities? Major interests, hobbies or sports? Weekend plans for the next month? What are the best times to reach you? These questions arent really what your story will be about, but theyll help you in your journey to discovering that ultimate focus. 3. Select a focus. A well-written profile is not an encyclopedia article. In all likelihood, nobody cares about your subjects dog or cat, sisters or brothers, classes or hobbies. What people do care about is the one aspect of your profilees life that is fascinating. (Yes, that could be a dog or a cat, but probably only if its an amazing dog or cat, like one that works in a circus or has rescued someone from a fire.) Look over your notes from Interview 1 and decide what your focus will be. Develop a list of questions you have (and that readers will have) about that focus. 4. Interview 2. Conduct a follow-up interview to flesh out your focus. Ask the questions you developed in Step 3. Get your subject to talk at length about your selected focus. Take notes. Get quotes! 5. In a perfect world you would observe your subject in a setting that is relevant to your focus and you would conduct interviews about your subject with at least three other people, including at least two adults (e.g., coach, priest, parent, teacher). Some instructors may ask you to pursue this part of the assignment. But, if yours doesnt, you still should keep the idea in mind for future assignments. One-source stories usually are stinkers to write and even worse to read. 6. Write the story! Be sure not to stray far from your focus.

7. Evaluate your work by answering the questions in the box at the end of this exercise.

Profile tips: Subject-contact guidelines As the above assignment often is a novice reporters first contact with live sources, a few words of caution may be in order. Keep the following in mind as you pursue your profile. (Note: For your ready reference, weve included here the same guidelines that appear with the exercises for Chapter 4.)  Observing is not stalking, so be careful about observing sources before they know they are
the focus of your story and avoid invading their privacy.

 Maintain a professional distance. This is not a journalism dating service. You may find
yourself in a position of power. Dont abuse it.

 Your first in-person meeting with your subject should be in a public place. Just
common sense.

 Be polite on the phone and in person. Always explain who you are and what your purpose
is. Say please and thank you and leave coherent, tactful messages. You are representing your schools publication, indeed all journalists, from this point forward.

 Be mindful of cultural differences and the concept of cultural relativism. Different isnt
necessarily wrong. Its just different. Be prepared to enter a different world with an open mind.

 Do not agree to let your subject read the story before you turn it in. That is a violation of
editorial policy for many publications.

 You are not dealing with fiction. You are dealing with fact. Dont make up details.  In some situations, your instructor may be legally required to report all stories of
abuse. It might be a good thing to remind your subjects of this before they get started.

3 t t t t t t

Does your profile meet the following criteria?


Can you identify the hook? If not, why not? Does it contain concrete, sensory, you-are-there reporting? Is it authentic or imaginary? Does the story include an effective transition from the hook to the billboard/nut graph? How might it be improved? Does the billboard/nut graph identify a clear focus for the story that grows out of the hook? Does it articulate something that's worth saying or exploring? Why or why not? Does the body support the billboard/nut graph well? Do all parts address the central idea put forward by the billboard/nut graph? Which parts dont support the thesis? Quotes should be used to illustrate statements already made. Is that the case with each of the quotes in this story? Identify those with inadequate transitions. Does the wrap-up work? Why or why not? The wrap-up should have a sense of conclusion, but it may not be a summary. Its best to end with a quote, not with the writer's voice.

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