News Reporting And Writing 8e America S Best Newspaper Writing

"America's Best Newspaper Writing" represents the "best-of-the-best" from 25 years of the American Society of Newspaper Editors (ASNE) Distinguished Writing Awards competition. With an emphasis on local reporting, new stories including more on crisis coverage, and pedagogical tools to help students become better writers, the second edition is the most useful and up-to-date anthology available for feature writing and introduction to journalism classes.

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.

This anthology collects the ten winners of the 2020 Best American Newspaper Narrative Writing Contest at UNT’s Mayborn Literary Nonfiction Conference. First place winner: Christopher Goffard, “Detective Trapp” (Los Angeles Times) is about a complicated murder investigation and its human impact. Second place: Annie Gowen, “Left Behind: American Farm Families in Crisis during Trump's Trade War” (The Washington Post) tells about a despairing farmer’s suicide and aftermath. Third place: Jennifer Berry Hawes and Stephen Hobbs, “It’s Time for You to Die” (Post & Courier) presents a gut-wrenching drama of America’s deadliest episode of prison violence. Runners-up include Peter Jamison, “The Confession” (The Washington Post); Mark Johnson, “House Calls and Rarest of Diseases” (Milwaukee Journal Sentinel); Nestor Ramos, “At the Edge of a Warming World” (Boston Globe); Noelle Crombie, Kale Williams, and Beth Nakamura, “No Mercy” (The Oregonian); Tara Duggan and Jason Fagone, “The Fisherman’s Tale” (San Francisco Chronicle); Jenna Russell, “Brilliant, Faithful, Undaunted” (Boston Globe); and Charles Scudder, “Guardians: When Evil Came Through the Door” (Dallas Morning News).

Best Newspaper Writing 2002 celebrates the winners of the ASNE Distinguished Writing Awards, including the Jesse Laventhol Prizes honoring deadline reporting, and featuring the Community Service Photojournalism Award on a companion CD-ROM. N.R. Kleinfeld of the New York Times reconstructed the morning of Sept. 11 with stories and stunning details. Jim Dwyer's short stories in the New York Times, resurrected from the smallest pieces of Sept. 11 debris, accomplish a feat that Dwyer himself describes in one of his poignant stories. The Wall Street Journal staff, amid a cloud of personal grief and national uncertainty, produced stories so stirring, encompassing, and complete that they remained relevant and vibrant long after Sept. 11. John McCormick, an editorial writer for the Chicago Tribune, displays amazing range -- from the contradictions of praying for peace amid war in Afghanistan, to a tribute to a murdered Chicago cop. Steve Lopez's storytelling always surprises, whether he's chronicling the unfolding tragedy of Sept. 11, or knocking back a six-pack of beer and a dozen doughnuts in the name of journalistic inquiry. Anne Hull of the Washington Post explores the gentrification of a neighborhood and the aftershocks of Sept. 11. Ellen Barry of the Boston Globe writes of the "Lost Boys" of Sudan, and their odyssey from African cattle herders to urban teens. J. Albert Diaz of the Miami, Herald captures the elusive concept of the American Dream.

Makers of the Media Mind is a collection of analytical essays focusing on the most important and original ideas contributed to the field of mass communication by journalism educators. Divided into six sections representing the most prominent areas of specialization in the field, this text serves two significant purposes: first, it acquaints readers with the lives of preeminent journalism educators; second, it provides concise discussions and evaluations of the most compelling ideas those educators have to offer. The editor of, and contributors to, this text contend that ideas cannot be appreciated fully without an understanding of the creators of those same ideas. They hope that this volume's coverage of "creators" as well as concepts will demonstrate that journalism education has played a critical role in the making of the "media mind."

A comprehensive guide to becoming a published author outlines step-by-step guidelines for everything from generating ideas and improving technique to getting published and promoting one's work, in a reference complemented by tips from such famous writers as Michael Crichton and Amanda Hocking. Simultaneous.