{"id":672,"date":"2010-11-09T21:36:46","date_gmt":"2010-11-09T21:36:46","guid":{"rendered":"https:\/\/niemanstoryboard.org\/2010\/11\/09\/roy-peter-clark-on-the-power-of-the-parts-for-storytelling\/"},"modified":"2024-03-04T18:53:39","modified_gmt":"2024-03-04T18:53:39","slug":"roy-peter-clark-on-the-power-of-the-parts-for-storytelling","status":"publish","type":"post","link":"https:\/\/niemanstoryboard.org\/2010\/11\/09\/roy-peter-clark-on-the-power-of-the-parts-for-storytelling\/","title":{"rendered":"Roy Peter Clark on "the power of the parts" for storytelling"},"content":{"rendered":" \n
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\n Roy Peter Clark holds the post of\u00a0senior scholar<\/a> at the Poynter Institute, and as such is one of narrative journalism’s hardest-working midwives. You may have already encountered him here on Storyboard<\/a> or through his books on writing, including “Coaching Writers<\/a>” and more recently, “The Glamour of Grammar<\/a>.”

\"\"<\/a>We had hoped to bring you highlights from his talk at last month\u2019s American Association of Sunday and Feature Editors conference<\/a>, but fate has denied us the opportunity. To console ourselves, we found a recording of Clark from earlier this year, presenting at the University of Florida\u2019s Storytellers’ Summit. We highly recommend watching the\u00a0the hour-long video<\/a> yourself but have also pulled out some key elements on story development for your (and our) narrative edification.

Near the beginning of his session, Clark asks two people from the audience to come up and teach attendees the Chicken Dance while he accompanies them on accordion. He starts out slowly, and as the audience catches on, he picks up the tempo a little more with each repetition. And then he gets to the point:
\u201cSo what?\u201d you might ask. \u201cWhy did you do that?\u201d Because I can, OK? The other reason is because at a very sort of advanced stage of my career, I\u2019ve come to believe that any creative act is learned by being able to identify the parts. You have to do two things, really: You have to slow down the process, and you have to name the parts. <\/em>

So I\u2019m going to give you the seven or eight words which describe my version or my interpretation of the writing process.
<\/em><\/blockquote>
Explore.<\/strong> Clark builds in systematic change to his routine, to create opportunities for finding stories. \u201cIt\u2019s part of your responsibility as a writer,\u201d he says, \u201cto not be dependent, to not go on teacher welfare or editor welfare for story ideas. You need to be generating your own.\u201d

Hunt and gather<\/strong>. Get out and find out what is happening and why. \u201cThis is journalists\u2019 secret, where they stand above many other writers,\u201d Clark says. \u201cThey don\u2019t write with their hands. They write with their feet. I don\u2019t mean clumsily; I mean that writing requires movement, and not just movement of the mouse on the screen.\u201d

Organize.<\/strong> Clark makes a distinction between gathering and organizing materials and actually structuring the story. \u201cA student of mine made me realize that those are two different acts. … There\u2019s a point at which I\u2019ve got to find all my files. I have to organize my desk. I have to get out index cards. I have to label the cards. I have do some cross-referencing. I have to put some cards on a bulletin board. I have to get my shit together. … I have got to be able to find stuff that I need when I need it.\u201d

Find a focus.<\/strong> Clark performs dramatic reenactments of two of his stories in which the focus was not initially apparent. We will not attempt to summarize \u00a0them here, but will note that they involve the Catholic Church, a malfunctioning zipper, a stopped toilet and a leaf blower. \u201cThe central act,\u201d Clark says, \u201cis finding a focus for the story, finding what the story is really about.\u201d

Select the best and most interesting material.<\/strong> The more stuff, the better \u2013\u00a0according to Clark, the best writers might use only 10 percent of their material. \u201cIt\u2019s not quite as hard as panning for gold,\u201d he says, \u201cbut I like the notion that a lot of sand goes through the sieve before something pops up that has real value to you as a writer.\u201d

Order or structure.<\/strong> What shape will the story take? Clark suggests that whether it\u2019s \u201ca pyramid, or an hourglass, or a wine glass, or any\u00a0of the other kind of structural elements that writers favor in order to do some of their best work,\u201d choosing a structure is key.

Describing himself as \u201cnot an outline kind of guy,\u201d Clark nonetheless writes down a game plan, if only a few key elements: the beginning, the three parts of the middle, and the end. He tentatively claims the title of inventor of the \u201creverse outline,\u201d in which he checks to see if he can do a more detailed outline of his piece after<\/em> he writes a draft. \u201cIf I couldn\u2019t write the outline,\u201d he says, \u201cit might have meant there was some sort of interesting structural problem in the story.\u201d

Draft and revise. <\/strong>Drafting comes later now, but when Clark was a young reporter, drafting and revision were the beginning of his writing process. And even now, despite his step-by-step approach to story, he says, \u201cThis is not a linear process. To describe it correctly, I would need some sort of spinning cycles or double helix. If I can\u2019t select out of the material I have, I say, \u2018Maybe I don\u2019t have a focus.\u2019 If I can\u2019t find a focus, I say, \u2018Maybe I haven\u2019t gathered enough stuff.\u2019 It\u2019s constantly sort of cycling back.\u201d

The Storytellers\u2019 Summit video is worth seeing in its entirety for many other great suggestions Clark makes \u2013\u00a0especially his thoughts on the hot spots in sentences and how to shape a sentence, a paragraph or a story for maximum impact. Finishing by playing his guitar in a \u201cstump-the-band\u201d challenge from the audience, he is nothing if not versatile. Check it out for yourself<\/a> \u2013\u00a0along with videos from other presenters, including Ellis Amburn, Lane DeGregory and Tom French.

And if you’d like to get some tips in person, you can sign up for Poynter’s National Writers Workshop Telling Your Story, Selling Your Story<\/a>. Jacqui Banaszynski and Tom French will join Clark in conducting sessions for the workshop, which will take place in St. Petersburg, Florida, from December 9-11. Apply by November 18!\n <\/div>\n <\/div>\n","protected":false},"excerpt":{"rendered":"

Roy Peter Clark holds the post of\u00a0senior scholar at the Poynter Institute, and as such is one of narrative journalism’s hardest-working midwives. You may have already encountered him here on Storyboard or through his books on writing, including “Coaching Writers” and more recently, “The Glamour of Grammar.” We had hoped to bring you highlights from […]<\/p>\n","protected":false},"author":1,"featured_media":3287,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"footnotes":""},"categories":[12],"tags":[],"topics":[],"authors":[24],"issue":[],"class_list":["post-672","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-essays-on-craft","authors-andrea-pitzer"],"acf":[],"yoast_head":"\nRoy Peter Clark on "the power of the parts" for storytelling - Nieman Storyboard<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/niemanstoryboard.org\/2010\/11\/09\/roy-peter-clark-on-the-power-of-the-parts-for-storytelling\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"Roy Peter Clark on "the power of the parts" for storytelling - Nieman Storyboard\" \/>\n<meta property=\"og:description\" content=\"Roy Peter Clark holds the post of\u00a0senior scholar at the Poynter Institute, and as such is one of narrative journalism’s hardest-working midwives. 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