{"id":14034,"date":"2025-01-31T13:57:26","date_gmt":"2025-01-31T13:57:26","guid":{"rendered":"https:\/\/niemanstoryboard.org\/?p=14034"},"modified":"2025-01-31T13:57:26","modified_gmt":"2025-01-31T13:57:26","slug":"how-to-lobby-for-time-space-to-tell-a-story","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2025\/01\/31\/how-to-lobby-for-time-space-to-tell-a-story\/","title":{"rendered":"How to lobby for time and space to tell a story"},"content":{"rendered":" \n
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Sign up for the Nieman Storyboard newsletter,<\/em><\/a> delivered every Friday in your inbox.<\/em><\/p>\n\n <\/div>\n <\/div>\n \n

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***<\/p>\n\n <\/div>\n <\/div>\n \n

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Dear Storyboard community, <\/p>\n\n <\/div>\n <\/div>\n \n

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It’s official: I’m thrilled to be your new Storyboard editor<\/a>. <\/p>\n\n <\/div>\n <\/div>\n \n

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Thanks again to the Nieman Foundation team, and all of you, for the warm welcome over these past few weeks as guest editor.  <\/p>\n\n <\/div>\n <\/div>\n \n

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Many of you might know me from Longreads<\/a>, but when I left a few years ago, I was eager to immerse myself in other forms of storytelling \u2014 including fiction, podcasting, songwriting<\/a>, and (as it turned out) TikTok. With Ursa Story Company<\/a>, authors Dawnie Walton<\/a> and Deesha Philyaw<\/a> and I wanted to introduce people to short stories through audio<\/a> and short-form video<\/a>. <\/p>\n\n <\/div>\n <\/div>\n \n

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As with any industry, there’s always a question of how to break in. Many fiction writers can make their name by writing short stories, which can lead to an agent, and then a book deal. For us, it’s been gratifying to highlight both established writers and emerging voices who are publishing some of their first pieces.\u00a0<\/p>\n\n <\/div>\n <\/div>\n \n

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Which brings me to this question: <\/p>\n\n <\/div>\n <\/div>\n \n

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Who gave you your first shot?<\/h2>\n\n <\/div>\n <\/div>\n \n
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In the world of journalism, it can be just as tough to land a break, or find an editor or producer who will take a chance on you. Or, maybe, you took matters into your own hands and took a chance on yourself. (Ryan Teague Beckwith’s newsletter, Your First Byline<\/a>, is full of these stories.)<\/p>\n\n <\/div>\n <\/div>\n \n

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I’d like to ask the community: How did you land your first big reporting project or narrative feature? And what advice do you have for those starting out? <\/p>\n\n <\/div>\n <\/div>\n \n

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Send me an email (mark_armstrong@harvard.edu<\/a>) and I’ll feature your answers in a future newsletter. <\/p>\n\n <\/div>\n <\/div>\n \n

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How to convince an editor or producer to go long<\/h2>\n\n <\/div>\n <\/div>\n \n
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\"Podcast<\/a><\/figure>\n\n <\/div>\n <\/div>\n<\/div> \n
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Will James<\/a>, an audio documentary producer for KUOW in Seattle, helped create serial podcasts including 2024’s “Lost Patients,”<\/a> about the mental health care crisis in Washington state, in partnership with the Seattle Times. <\/p>\n\n <\/div>\n <\/div>\n \n

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He wanted to find a way to give complicated stories more space, without having to create an entirely new podcast each time. So he and his colleagues are producing longform audio documentaries that can run as standalone episodes. Their latest is “The Housing First Approach,”<\/a> a 50-minute piece about homelessness that ran on KUOW’s Soundside<\/a> podcast. <\/p>\n\n <\/div>\n <\/div>\n \n

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“The idea is that, in this environment, listeners are drowning in discrete bits of information and are looking for voices to guide them through it,” James told me. <\/p>\n\n <\/div>\n <\/div>\n \n

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He also shared advice for those who want to make a pitch for more space and time to work on a big project: <\/p>\n\n <\/div>\n <\/div>\n \n

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Many editors have internalized the idea that long, deeply reported pieces are self-indulgent pursuits that mostly benefit the reporters. In many newsrooms, these projects are treated as \u201cbreaks\u201d or \u201crewards\u201d for reporters, as in \u201cSo-and-so has really been grinding on daily news and deserves a break to work on this passion project\u2026\u201d <\/p>\n\n <\/div>\n <\/div>\n\n\n \n

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First of all: No! Long-term reporting and storytelling projects are difficult as hell and, if done right, will test the limits of any reporter\u2019s skill, patience, and endurance.<\/p>\n\n <\/div>\n <\/div>\n\n\n \n

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To get these ideas past editors, reporters have to show how their project is not a fun diversion for them nor the fulfillment of a personal passion but something crafted to fill the needs of the audience. <\/p>\n\n <\/div>\n <\/div>\n\n\n \n

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Reporters have to make the case that audiences already get so much information in discrete bites, they\u2019re confused, and they\u2019re crying out for reporting that helps them synthesize all of it. And the reporter needs to demonstrate that their project will fill that need \u2014 and that they have a plan to deliver.<\/p>\n\n <\/div>\n <\/div>\n<\/blockquote>\n\n <\/div>\n <\/div>\n \n

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Subscribe to Storyboard<\/h2>\n \n
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Get insights into the craft of journalism and storytelling in your inbox, delivered on Fridays.<\/p>\n\n <\/div>\n \n

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Links of note <\/h2>\n\n <\/div>\n <\/div>\n \n
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\u2022 Vogue Party<\/a>: Edith Zimmerman documents her life in illustrated stories. Some installments, like this one, talk about her journey from writer (The Hairpin, New York Times Magazine, GQ) to artist. I asked her how she writes and draws them: “I don\u2019t decide much (or anything) beforehand. (It\u2019s really a daily journal!) But then I\u2019ll delete extraneous stuff if it starts to later look like something I might want to publish. And I ask my friend Logan [Sachon] to help me edit it too.” Her advice for aspiring artists: “Just start! Sometimes ‘bad’ art is better than ‘good’ art. It can be funnier, among other things. So don\u2019t be afraid!”<\/p>\n\n <\/div>\n <\/div>\n \n

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\u2022 Novelist Rebecca Makkai writes about the dangers of “withholding” in storytelling<\/a>. In this case she’s talking about fiction, but I think this raises important questions for narrative nonfiction as well: <\/p>\n\n <\/div>\n <\/div>\n \n

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We can define narrative withholding as any time the reader is not filled in on important information known by the narrator or the point-of-view character, in a timely manner.<\/p>\n\n <\/div>\n <\/div>\n\n\n \n

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This absolutely does not mean that you need to fill us in endlessly on every possible detail. If you say that someone sat on the couch but don\u2019t tell me the color of the couch, that is not withholding\u2014largely because it doesn\u2019t matter.<\/p>\n\n <\/div>\n <\/div>\n\n\n \n

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Here\u2019s the litmus test: If two readers could come away with wildly different guesses for what\u2019s happening, and if those guesses would change the meaning of the story, you\u2019ve got a problem.<\/p>\n\n <\/div>\n <\/div>\n<\/blockquote>\n\n <\/div>\n <\/div>\n \n

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\u2022 \u201cIt was complicated at first just to reach people. Some sources were easier to contact than others, and with internet problems in Haiti, some days I couldn\u2019t connect with anyone at all.\u201d Fact-checker Jameson Francisque explained his process<\/a> while working with reporter Jacob Kushner on Long Lead’s feature story, “An Unnatural Disaster,\u201d<\/a> about the city of Canaan, which emerged after the 2010 earthquake in Haiti.<\/p>\n\n <\/div>\n <\/div>\n \n

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\u2022 ESPN’s 30 for 30 Podcasts<\/a> will be accepting story pitches at the upcoming On Air Fest in Brooklyn<\/a> on Feb. 21. Preeti Varathan, head of 30 for 30 Audio, will also be conducting a virtual AMA on Feb. 6<\/a> on how to pitch and what they’re looking for. <\/p>\n\n <\/div>\n <\/div>\n \n

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\u2022 Over at Nieman Reports, Gabe Bullard<\/a> (Nieman Fellow, Class of 2015) writes about the classic reporter\u2019s notebook<\/a>, which may be on the road to obsolescence. If you have a reporter\u2019s notebook with a special history of its own, share your stories and photos with us<\/a>.<\/p>\n\n <\/div>\n <\/div>\n \n

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Thank you for reading,<\/p>\n\n <\/div>\n <\/div>\n \n

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Mark Armstrong<\/a>
Editor
Nieman Storyboard 
Bluesky: @niemanstoryboard.org<\/a><\/p>\n\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

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