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Jacqui Banaszynski is a reporter, writer, editor and story coach who now works with students and professionals at the Missouri School of Journalism, the Poynter Institute and at workshops and in newsrooms around the world. Her reporting career took her to all seven continents, including three trips to Antarctica. She has written about corruption and crime, beauty pageants and popes, AIDS and the Olympics, dogsled expeditions and refugee camps, labor strikes and political strife, traffic fatalities and family tragedies. While reporting for the St. Paul (Minn.) Pioneer Press, Jacqui won the 1988 Pulitzer Prize for “AIDS in the Heartland,” an intimate series on a gay farm couple dying of AIDS. She was a finalist for the 1986 Pulitzer Prize in international reporting for “Trail of Tears,” an eyewitness account of the famine crisis in sub-Saharan Africa. Projects she has edited have won ASNE Best Newspaper Writing, Ernie Pyle Human Interest Writing and national business, social issues and investigative prizes. In 2008, she was named to the Society of Features Journalists Hall of Fame. Jacqui splits her time between work in Missouri and on the road, her home in Seattle and a small cabin in the Cascade Mountains, where her partner runs a weekly newspaper.
Kelley Benham French
Kelley Benham French, an award-winning reporter and editor, teaches journalism at Indiana University. Kelley was a 2013 Pulitzer Prize finalist for “Never Let Go,” a three-part series on the birth of her extremely premature daughter who was born at 23 weeks gestation. She and her husband, Thomas French, went on to write a book together about the experience. “Juniper: The Girl Who Was Born Too Soon,” published last year by Little, Brown, explored the science and ethics of saving babies born at the edge of viability and told the story of their daughter’s196 days in a neonatal intensive care unit. Kelley is the editor of three stories that were finalists for the Pulitzer Prize: “Winter's Tale,” by John Barry for the Tampa Bay Times; “For Their Own Good,” by Ben Montgomery and Waveney Ann Moore for the Tampa Bay Times; and “Speak No Evil,” by Joan Garrett McClane for the Chattanooga Times Free Press. She continues to edit newspaper projects, magazine stories and book manuscripts and is a frequent speaker in newsrooms and at journalism conferences around the world, as well as at medical and nursing conferences, where she discusses the challenges of extreme prematurity.
John D. Sutter
Award-winning columnist and multimedia producer for CNN Digital, where his projects seek to involve readers and viewers in the network's reporting. His online story and documentary on modern slavery in Mauritania, "Slavery's Last Stronghold," won the Livingston Award for young journalists and was nominated for an EMMY for new approaches to documentary. He is the creator of CNN's "Two Degrees" series, in which he sought to answer reader questions about the climate crisis through field reporting. One question sent him to the Marshall Islands, where he produced "You're making this island disappear," an online narrative first told on Snapchat. His "Change the List" project, which won the Batten Medal for public service from the American Society of News Editors, asked CNN's audience to vote on the topics to be covered and to be involved in a push for change. Readers voted to send him on a three-week kayaking trip down the "most endangered" river in the United States; to the U.S. county with the highest level of income inequality; to the state with the highest rate of reported rape; and to meet with wildlife traffickers in Sumatra, Indonesia. His most recent work focuses on the global extinction crisis and climate change. His lives in Atlanta, Georgia.
Lulu Miller is a Peabody-Award winning science reporter and podcast producer for National Public Radio. She is the co-founder and co-host of NPR's Invisibilia podcast, which interweaves personal stories with new psychological and brain science. Her journalistic discoveries often challenge assumptions about how the human organism works—from the story of The "Bat Man" (a man who is blind and uses echolocation to navigate the world), to the tale of Martin Pistorius (who was locked in his body for 13 years but found a way to emerge), to a surprising new way to overcome your demons, by, well, lying to yourself. Prior to launching Invisibilia, Lulu was a founding producer of NPR’s RadioLab, and worked as reporter for NPR’s Science Desk. Her work has been recognized by the George Foster Peabody Awards, Third Coast, and The Missouri Review. She has taught and written fiction at the University of Virginia on a Poe-Faulkner Fellowship. She is currently at work on a book about taxonomy and when the desire to order the world becomes madness.
Thomas French teaches journalism at his alma mater, Indiana University. As a longtime reporter at the St. Petersburg Times, French was awarded the Pulitzer prize for feature writing in 1998 for Angels & Demons, a serial narrative that chronicled the murder of a woman and her two teenage daughters as they vacationed in Florida. Tom is the author of four nonfiction books, including “Juniper: The Girl Who Was Born Too Soon,” a memoir he co-authored with his wife Kelley about their daughter’s harrowing first months of life after she was born halfway through the pregnancy, weighing just 570 grams. He spent six years behind the scenes at the Tampa Bay Zoo to gather material for his book “Zoo Story: Life in the Garden of Captives,” which explores the complex ethical challenges of man’s relationship with animals. Tom has two grown sons, and now lives with Kelley, Juniper and the menagerie near Bloomington, Indiana.
Diana K. Sugg
Diana K. Sugg is a senior editor for enterprise/projects at The Baltimore Sun, where she has edited award-winning series on the insidious effects of crime on Baltimore citizens, the intimate struggles of refugees in a city high school, and the disturbing surge in lethal shootings. She spent several years as a beat reporter covering crime and medical issues, and won the 2003 Pulitzer Prize for beat reporting. Prior to joining The Baltimore Sun, she reported for the Associated Press in Philadelphia, The Spartanburg (S.C.) Herald-Journal and The Sacramento Bee. Her work has been featured in numerous journalism textbooks, and she’s spoken widely to journalists around the country about reporting and learning to follow your heart. Diana earned a master’s degree at Ohio State’s Kiplinger Program in Public Affairs Journalism. She has served as a Pulitzer juror and on the National Advisory Board of the Poynter Institute. She lives in an old house in Baltimore with her husband and two adorable and hilarious sons, ages 8 and 10.
Chris Bajema (1971) is a radio producer and theatre performer. He started out as a news reporter for a Dutch public radio station, but along the way started making longer stories. He produced several documentaries, and achieved public acclaim with his series 'A big brown envelope', in which he placed brown envelopes throughout the country. He made programs about whatever people sent back to him. Chris also specialized in radio plays, being the director for a long series called 'Bommel', and writing and directing a radio comedy about a radio program. These days, Chris is the producer, writer and anchor of his own podcast, called 'Man with the microphone'. In this independent podcast he combines true stories with (written) comedy, using a cast of renowned actors. All stories are set in his own urban neighbourhood. Chris wrote and starred in various small theatre productions. In the summer of 2017 he will play in an audio/theatreplay in De Parade, a Dutch theatre festival.
Michael Salu is a writer, award-winning creative director and artist. He is the former creative director and art editor of Granta Publications where he collaborated on original features with many artists and photographers including the Chapman Brothers, Sir Paul Smith, Yinka Shonibare, Nadav Kander and the 2013 Deutsche Börse winners Adam Broomberg and Oliver Chanarin. Before this he undertook design art direction for the literary division of RandomHouse UK including contributing to the launch of Vintage Classics. His fiction, non-fiction and art have appeared in a range of publications including Tales of Two Cities (Penguin RandomHouse), Grey Magazine and the new literary journals Freeman's and Catapult.co. He has conceived and managed the creative output of well-respected and culturally-focused brands, working with the languages of both art and design across a variety of online and offline media, collecting awards for art direction from the likes of D&AD & Communication Arts. Salu runs a multi-disciplinary creative consultancy [SALU.io] and is a co-founder of the cross-disciplinary art event series Local Transport. He is currently finishing his first novel and has two film projects in development.
James Cook is the Arts, Poetry and Natural History Editor for BBC Radio. He looks after a range of dramas, readings, documentaries and studio shows across poetry, the wider arts and nature. These include Poetry Please, Soul Music, The Echo Chamber, Natural Histories and With Great Pleasure. He mainly works for Radio 4 but also for Radio 3 and the World Service. In a previous life, he made intellectual history programs and wrote mediocre poetry.
Eef Grob is a freelance crossmedia producer focused on innovative creative projects using online and mobile media, often combined with audiovisual stories. Always looking for new ways to engage a wide audience with strong creative concepts. For the Initiative Narrative Journalism Netherlands she explored opportunities for Dutch narrative journalistic podcasts.
Sarah Sylbing, Ester Gould and Chris Westendorp
Ester Gould (1975) and Sarah Sylbing (1980) followed media studies in Amsterdam and New York. Both make books, radio and television programs, together and individually. Their work often deals with social issues such as poverty, migration, aging and care. Through fiction, dramatization and intimate scenes, they try to pull the reader, viewer or listener into the story. The two have frequently visited the Vogelbuurt in Amsterdam North, a working-class neighborhood where poverty is common, starting in 2006. They wrote a book about their findings, “Dubbeltjes & kwartjes” (Dimes and Quarters) and made two documentaries (Catelijne’s Bill and 50 Cents) about a family suffering numerous social ills. This was the prelude to the 2016 Dutch public TV documentary series Guilty. This series won Gould and Sylbing the title of Journalists of the Year 2016, as declared by the Dutch journalists’ magazine, VillaMedia. After Chris Westendorp completed her degree in documentary filmmaking and, indeed, making a few documentaries, she moved onto script writing. She subsequently completed two features, Confetti Harvest and Boys, and contributed to various popular Dutch TV shows like Smeris (Cops), Vechtershart and Penoza (Red Widow). Chris was head writer on Penoza V, the coming final season of the popular crime series. Chris says she enjoyed applying her knowledge of scriptwriting and dramaturgy for the documentary-series Schuldig.
Jacqueline Maris is a story teller whose work encompasses sound, text and visual images. Stories are ubiquitous, she says. And though she has travelled the world for them she also finds them at home in her small Dutch village. She was until three years ago a documentary maker for VPRO Public Radio for whom, in 2009, her multi-media production Detroit - Stories From A City In Free Fall won the prestigious Presidents Prize at the Prix Italia (http://bit.ly/1IVTWys). Her most recent cross medial work, a collaboration with the photographer Inge Hondebrink titled Meet the American Outsiders, told the stories of the passengers on the Greyhound buses of North America (http://bit.ly/2hvrU8t). It was nominated by the ‘Dutch Association Of On-Line Journalists’ for their VOJN award. In 2016 Jacqueline and Gerrit Kalsbeek were commissioned by the Initiative Narrative Journalism Netherlands to produce a podcast series for a Dutch listenership. It is provisionally called What’s up with the ‘platteland’ (the Dutch countryside). Presently they are busy putting together the first episodes of this 6 part ‘down and dirty’ look at true crime in the ‘platteland’.
Nicole Segers (1960) is a documentary photographer. Her work consists mainly of long-term projects, published and exhibited in the Netherlands and several other European countries. She focuses on contemporary subjects, investigating their deeper meanings. She has travelled widely through southern Africa, Indonesia and South America and is fascinated by the meaning of borders. Segers has reported on Europe’s borders since 2001, with particular focus on countries in the process of joining the European Union and has made two books on the subject with journalist Irene van der Linde. Her first book travelled along the EU’s new 7,000 km long eastern border. For the second book, she lived in Istanbul and focused on the Bosporus, the physical border between east and west. She’s currently completing the last part of what will be her border trilogy: The Western Balkans.
In 2015, Bernadette Kuiper founded the Impact Academy with the aim of giving Dutch documentaries greater impact. "Stories have always been the best way in which we relate to each other. Through stories, you develop empathy. Stories provide a common framework within which we can talk about sensitive topics.” Within the Impact Academy, Kuiper develops “impact production” as an alternative way to create stories. During the production process, they involve the right partners to collaborate with and give the story a bigger impact.
Irene van der Linde
Irene van der Linde (1963) is a staff writer for the Dutch weekly “De Groene Amsterdammer”. Since 2001, she has collaborated with Nicole Segers on two books looking at the borders of the European Union,” Het einde van Europa (The End of Europe) and Het veer van Istanbul (The Ferry of Istanbul). Both were translated into French. Her forthcoming book rounds out the series and looks at Europe’s border in the Western Balkans.
Evert van Dijk
Evert van Dijk (52) is general editor of NDC Media Group, publisher of Dagblad van het Noorden, the Leeuwarder Courant, Fries Dagblad and some 30 periodicals and newspapers. Our newsroom has its own narrative journalism coach, Inki de Jonge, who has helped dozens of colleagues with their storytelling. It's interesting to note that as our readership has diminished, their demand for a good story well-told has increased. We're trying to give them what they want.
Lulu Miller: Ten narrative tricks to make it stick | SOLD OUT
Story is so addictive, Lulu Miller says, that she finds herself constantly looking for different techniques to enhance the power of a story. Over time, she has accumulated a list of techniques to enhance suspense. For each episode she will use a few of those techniques. One of them is for instance that she will listen to her drafts while running. It is that distance, being away from my computer, that helps her to feel what point of the story is not quite right yet. Jad Abumrad used to be her editor at Radiolab and still inspires her with each episode to do better. Lulu always tries to push the boundaries and use fictional techniques to draw listeners in in a journalistic story. During the masterclass, she will explain how she works by dissecting this episode of Invisibilia, on how a blind man is actually biking: http://www.npr.org/programs/invisibilia/378577902/how-to-become-batman.
Diana Sugg: Strategies for working on great narrative stories
As a journalist, you’re always under pressure to crank out a lot of stories. How do you find the time to work on a narrative project? Diana Sugg will give a masterclass on strategies for developing and nurturing special stories while still doing your day to day work. Sugg was a reporter for the Baltimore Sun covering health care. She won a Pulitzer prize for how she covered her beat and is now coaching other journalists on how to write impressive stories. “Don’t expect someone to give you the time to work on a narrative project,” she says. She suggests to follow your gut. “I believe that every journalist has his own makeup and therefore is drawn to particular stories. My theme is, for example, life and death. That’s the theme of stories that are drawing me in. What I’ve discovered is the stories that haunt me, will also hunt my readers. All you have to do is follow your deeper curiosity. And find a way to regularly shift out of the day to day mindset.” During the masterclass, Sugg will reveal the making of this story. We advise participants to attend Tom French’s session in the afternoon.
John Sutter: Story mapping your online project
If you are working on an online project, you have an overflowing toolkit at your disposal: from social media like Snapchat and Facebook to video and text. Which tools are needed for your story? It all begins with deciding on the goal of your project. John Sutter, columnist at CNN, has been working with input from his audience on stories that matter to his readers and viewers. He uses their input to decide on which stories he should investigate, to promote those stories AND to advocate for change. Either working in a one-man-team on the Marshall islands or in a team with a video editor on slavery in Mauritania, he first thinks of all the possible tools to tell the story online: does it need video, images, text or a combination? “For video you need something active, not just a talking head. When it comes to sensitive topics, it might be better to use only text.” Next is what impact he hopes for. Is it, like his Bottom of the list-projects, raising awareness? Or is it about changing a wrongdoing and connecting the project to a fundraising for an activists group? And what would be the role of social media to reach your goal? During his master class, John will explain how one of his projects came about and he will get participants to work on a story map for their own project, so that walking out of the master class, you will have an idea of the media mix that will help boost your story.
Michael Salu: Working in collaboration to produce more impactful stories
Increasingly it is more difficult to create powerful stories that have impact. Images and words can be easily lost in the swirl of disinformation. From interactive storytelling, to immersive documentary, more and more so collaboration between writers, image makers and technologists make for the most impactful work – but where does one begin such a collaboration and how can each party benefit and be satisfied with the end result? This masterclass Michael Salu, the former art director of Granta, will explore that art of collaboration. Working with key assignments provided beforehand and some past examples of collaborative work within publishing, we will explore the creative process and stages of development and collaboration that will help in developing the working methods to bring impactful narratives and projects to life.
Tom French: Nuts and bolts of narrative journalism
Focusing on structure, Pulitzer winner Tom French will give a crash course into narrative journalism. What is narrative journalism? What elements make a story narrative and how do you find them in your day to day reporting? This session will help you find narrative elements when working on a deadline. French asks you to read several stories beforehand for discussing in class. We advise participants to also attend Diana Sugg’s session in the morning.
Jacqui Banaszynski and Kelley French: From story fixer to story partner: a new role for editors
As our profession changes, editors must change along with it. Rather than handing out a brief assignment, and then waiting for copy to come back, today’s best editors are coaches and guides and in the story process. They can work as partners from the original idea for a story, through six essential steps to publication. Along the way, they not only improve each story, but help improve the skills of the writers they work with. Jacqui and Kelley are two accomplished writers who now work as editors and story coaches. They will take you through the process of helping writers build a narrative, from developing the original idea to gathering the right information to writing and ordering scenes that create compelling stories. Special emphasis will be made on how to help writers find the central focus of a story, and structuring the story for clarity and flow. While this session is targeted at editors, writers also can benefit by better understanding the steps of the story process from beginning to end.
Extra: Writing coaches
In the lunch break during the master classes, participants can get one-on-one advise from one of our Dutch story coaches. This is aiming to help Dutch journalists to proceed working on their story. Unsure about your angle or if the story is good enough? Book ten minutes with one of our story coaches for text, audio, online and video. More information: email@example.com.
Jacqui Banaszynski: Stonesoup storytelling
Why it takes a village to create the best journalism. A Pulitzer Prize winner revisits the surprising moments – and people – that helped her find her place in journalism, and her faith in the power of stories as one of humanity’s great gifts.
Diana Sugg: The heart of the matter
Venturing to the emotional story center: How to gain trust and produce intimate, ethical journalism that respects both the public and the source.
Lulu Miller: On the creative cliff
Lulu has always been drawn to irreverence. To people blowing up the form. Or being seemingly unconstrained by the rules of their profession. But when the rules are there for good purpose-- ethics, truth, protection of sources, objectivity--how far can you go? She’s interested in the space right at the 'edge of the cliff.' How far can we push a story... into whimsy, irreverence, play, song, imagination, while still staying on the right side of the line. Pushing story ideas and story forms into new territory: How to use play, imagination, suspense, games and other surprise elements to make well-documented, meaningful and ethical journalism more compelling – and more fun.
James Cook : Telling stories to Music
BBC Arts Editor, James Cook, gives the inside track on BBC Radio 4’s multi-award winning series Soul Music. The show has a simple format – it takes a piece of music and talks to people for whom it has special meaning in their lives. The final cut is just these stories mixed to the music. There’s no producer voice and no presenter. Using clips from the programme, James will talk about how his team approach the show - how they choose the songs that they think will work and how they find people with compelling stories to tell. He’ll take you into the heart of the interviews to see how his producers draw intimate stories out of people who’ve never been on radio before. Then we’ll head into the studio to see how they structure a programme without a presenter and how they mix speech and music to create emotional and textural effects. He’ll talk about what can go wrong as well as right and how, in the final programme, all the producer’s work needs to be invisible to the ear. He hopes people will experience how remarkably unmediated radio can be, learn tricks for editing speech and mixing it to music and also see how operating within formal constraints can be a spur to storytelling and creativity.
Jacqui Banaszynski (moderator) with Kelley Benham French, Diana Sugg : Three story wizards on how to coach for story
The editor as partner, guide, midwife and mentor: How three reporters let go of their own bylines and learned to bring the best out of other writers. A session for editors, for reporters who want to learn how to get editors on their side, and reporters who want to create their own support network.
John Sutter: When the audience is in charge
Toward a more democratic form of journalism: What happens when readers/viewers/listeners vote on the issues you cover, help you cover them more effectively -- and then push for real-world change on your behalf?
Michael Salu: Which came first the story or the image?
The dialogue between text and image is the fuel behind information and disinformation. So which came first, our conception or preconception? Through examples of creative publishing, we shall look at the impact of fiction and art on nonfiction and photojournalistic practices.
Kelley Benham French & Tom French, with a cameo by Juniper August French / Juniper's story
A private trauma, a public story and how their marriage survived: how the story of their daughter’s birth taught them about the real meaning of teamwork – in journalism and in life.
All: The power of stories
A montage of gratitude to the power of stories, the people who share them and the professionals who tell them.
Bernadette Kuiper: Amplify your story (in Dutch)
The Impact Academy, inspired by the British foundation BritDoc, helps documentary makers to create a bigger impact with their work. It all begins with story, says Kuiper, no matter if it is the written, audio or visual story. “Story is how we relate to each other.” But if you want your most beautiful story to have an impact, it is important to build partnerships and develop a strategy early on. She will start her session with the question: what is my motivation for telling this story? How would I define success? Are you aiming to develop your own artistic development, is it about getting recognition from peers, or is your ultimate goal to draw attention to an unfair situation or give people a voice? Step two is to develop a strategy for finding your target audiences. Bernadette will help you take your first few steps in impact management – having Amy O’Leary, last year’s curator in mind: in a time of information overload, we as journalists need to make sure our stories are being found.
Evert van Dijk (in Dutch)
We write to be read. But who is the reader? The voracious news consumer who wants to know what’s going on as soon as possible via the tried and true five w’s and an h? Is this the reader who informs his or herself via media we stubbornly continue to call 'new', although it’s hardly been new for quite some time? There is, however, another kind of reader. This reader likes a well-told, exciting story. This reader likes reading. Our daily and weekly newspapers make space to serve this reader. These stories move and disrupt and have a top, tail, and dramatic structure that ends in a climax. Stories that use the techniques of fiction, but are firmly based on the rules of reporting: sources are checked, all sides are presented and researched, with eyewitness reports and interviews. That is narrative journalism. And it can be done in 100 lines.
Irene van der Linde and Nicole Segers (in Dutch)
Van der Linde and Segers' 15-year collaboration has resulted in numerous books about Europe's borders. They show how combining their fields, text and image, enhances storytelling. They will discuss the strength of their partnership, the fun they have and the pitfalls. For example, how do you prevent one of the two disciplines from overshadowing the other? How do you keep the image from overwhelming the text or the other way around? How do you ensure that text and image actually reinforce each other? Van der Linde and Segers will talk about how they developed a unique working method that extends beyond the mere production of a book. While abroad, they consciously choose to do every aspect of production together: from conversations to the interviews and the photography. Upon return, they separate and produce parallel stories. So what makes this deep involvement in each other's work so exceptional? And how does it pay off?
Jacqueline Maris en Chris Bajema: Setting up your own podcast in the Netherlands (in Dutch).
We need more great narrative podcasts in the Netherlands. With that in mind, Dutch top-audio-storytellers Chris Bajema and Jacqueline Maris reveal their secrets in this interactive session hosted by Eef Grob. How do you start a new podcast? How do you tell a story in sound? What should you do differently in a podcast, compared to radio? And how do you build and engage an audience? Join this session, learn more about the practicalities of brilliant podcasting and help amplifying the Dutch podcasting soundscape!
Sarah Sylbing, Ester Gould and Chris Westendorp (in Dutch)
How can you make a documentary as thrilling as fiction? Collaborate with a dramaturge for starters! Directors Ester Gould and Sarah Sylbing are convinced that when you come up with a new formula, you have to reformulate the team too. So when they began making their series Schuldig (Guilty) for Dutch public television, they got dramaturge Chris Westendorp to join in at the very start of the process. It's hard to make a documentary series about personal debt exciting. It's too easy to fall into treacly sentiment. Adding a dramaturge to the mix meant some knock down drag out debates. In the end, it paid off as Schuldig garnered the Meestervertellers Audience Award, the Best Narrative Journalism of 2016, and the Dutch journalists' magazine Villamedia declared Gould and Sylbing "Journalists of the Year 2016". In this session, Gould, Sylbing and Westendorp talk about what inspires them, their working methods, the tension between dramaturgy and reality, and how to make a sentimental subject thrilling.