Better Broadcast Writing, Better Broadcast News teaches students how to write with the conversational simplicity required for radio and TV. This text draws on the Emmy Award-winning author's decades of professional experience in broadcast journalism. In addition to writing, the text also discusses the other elements that make up a good story--producing, reporting, shooting, editing, and ethics. The author's real-world perspective conveys the excitement of a career in journalism.

"Newswriting on Deadline" is filled with real-world newswriting exercises that prepare students for the stories they will cover on the job. Many of the exercises are based on actual events and most are designed to be written on a real deadline - in an hour or less. Each chapter focuses on a particular newspaper beat - police, courts, city hall - and opens with a set of tips for covering that specific beat. This is followed by a series of news writing exercises with a suggested deadline - anywhere from 30 minutes to an hour. Features Newswriting exercises give student the opportunity to write news stories based on actual events on a real deadline. Tips at the beginning of every chapter provide students with practical information on how to cover a specific newspaper beat. Profiles of real reporters give students a chance to hear from a professional journalist about how they cover their beat and write news stories on a tight deadline. Internet exercises allow students to use the Internet to do their own reporting and news writing. "Beyond the Classroom" feature in every chapter gives students examples of real-world stories they can cover.

Newswriting Guide has been an invaluable reference tool for journalism students and teachers for 20 years. In this updated fourth edition, you'll find quick answers to all your questions about the ten basic areas that are vital to student reporters. Style, format, punctuation, quotations, how to write a lead, interviewing techniques-it's all here, in concise, well-organized sections to make it easy to find what you need. It's not just for students: publicity writers, newsletter editors and almost any writer will find it useful and user-friendly. Whether you wonder whether to use an apostrophe in "its" or you need ideas on starting a feature story, Newswriting Guide has the answers. "This is a mini-text that effectively summarizes what the texts have to say. It can be used not only by school paper staffs but by club publicity staffs too, in fact by anyone who has to deal with media on a regular basis. And after a student has read the 'regular' text, this is a handy reminder of the material covered there." -Ed Eaton, Former Head, Journalism Department, Green River Community College.

This professional manual has been revised and updated. It features Merv Block's countless do's and don'ts, distilling them into a handy set of pointers. Journalists who are stumped by a problem can consult the book's many chapters for mini-lessons on how to deal with it. Block points to action verbs and points out dozens of words not to use. And tells why not to use them. "Every writer needs an editor" is a truism, but editors are vanishing. So Block tells how a writer can be her own editor. His own, too.

Between the 1970s and the 1990s American journalists began telling the news by telling stories. They borrowed narrative techniques, transforming sources into characters, events into plots, and their own work from stenography to anthropology. This was more than a change in style. It was a change in substance, a paradigmatic shift in terms of what constituted news and how it was being told. It was a turn toward narrative journalism and a new culture of news, propelled by the storytelling movement. Thomas Schmidt analyzes the expansion of narrative journalism and the corresponding institutional changes in the American newspaper industry in the last quarter of the twentieth century. In doing so, he offers the first institutionally situated history of narrative journalism’s evolution from the New Journalism of the 1960s to long-form literary journalism in the 1990s. Based on the analysis of primary sources, industry publications, and oral history interviews, this study traces how narrative techniques developed and spread through newsrooms, advanced by institutional initiatives and a growing network of practitioners, proponents, and writing coaches who mainstreamed the use of storytelling. Challenging the popular belief that it was only a few talented New York reporters (Tome Wolfe, Jimmy Breslin, Gay Talese, Joan Didion, and others) who revolutionized journalism by deciding to employ storytelling techniques in their writing, Schmidt shows that the evolution of narrative in late twentieth century American Journalism was more nuanced, more purposeful, and more institutionally based than the New Journalism myth suggests.