Adjudication Participants are selected by impartial adjudicators on the basis of their submitted material. The eight successful candidates will be selected from the field of applicants on the basis of writing skill, literary merit, and the relevance and originality of their project idea. Projects can be risk-taking endeavours both stylistically and intellectually. Applicants will be notified as soon as adjudication is complete, approximately three to five weeks following the application deadline.
Eligibility Applicants are usually accomplished journalists and writers who have been published in national or international magazines, newspapers, anthologies, or literary journals. However, writers with less experience have also been accepted to the program based on merit, the proposed project and writing skill. The essays published in the Banff Centre Press anthologies may help applicants determine whether their level of writing and area of interest are appropriate.
Note: Past participants of Literary Journalism must wait at least one year before applying again, and should be working on a different project. Those accepted as participants to the program who subsequently find themselves unable to attend for the full program schedule are asked to withdraw and re-apply another year.
All programs, faculty, dates, fees, and offers of financial assistance are subject to change. Program fee is subject to applicable taxes. Non-refundable fees and deposits will be retained upon cancellation.
If the person has written their own autobiography, make sure you read it. How do you know when to stop researching? Your goal is to create a revealing, interesting, and entertaining profile. Writing the Profile Many of the best profiles are written as narratives. The writer crafts true story involving a central character.
To write a profile, follow these suggestions: Structure Structure the profile using the narrative arc. It includes: Inciting incident Conflict, such as setbacks or obstacles Turning point and climax Resolution or end of the story Developing Character To reveal character, use the fictional methods of characterization.
These include: Dialogue. Use interviews or immersion to capture interesting quotes of the person you are profiling. Use these quotes in your profile. Description of Appearance. Observe the person you are writing about. Make note of their physical appearance, including hair style, clothing, gestures, hygiene, and so forth. Use concrete, particular, significant details to describe the person. Dramatic action. Show what the person does, their actions and reactions, in the narrative.
Scene, Summary, and Personal Reflection Use a scene to recreate important events. A scene always includes setting details, dramatic action, vivid description, dialogue, and POV. Use personal reflection to express your views about the person, sharing your own thoughts, feelings, opinion, emotional truth. Vivid Descriptions To reconstruct setting and events and people, use sensory details, writing descriptions of what you see, hear, smell, taste, touch. This is writing fiction.
As well, complete fact-checking. Revision The first draft is never your best work. Always revise the draft, completing a macro-edit structure, tone, elements of fiction, POV and micro-edit grammar, spelling, punctuation, word choice, sentence patterns. A Few Tips for Writing a Profile Here are a few tips for writing a profile or biography sketch: Select a person to profile, and then begin with an interesting question you want to answer.
If you are going to profile someone you know, mine your memory, observe the person in real life, and write about some significant event. Before interviewing, have a list of open-ended questions you want to ask. How are you going to begin? With a scene? With a quotation? With a question? Before writing, outline your story.
Always focus on what is significant or compelling. What is surprising? What is important? Any secrets? The story begins in medias res in order to compel the reader immediately. Throughout the whole reportage, Delgado-Kling employs time-lapses to convey immediacy and authenticity.
At the cambuche he fell asleep right away. On his second night away from home, Homero woke every few hours, chilled by his perspiration. This scene is embedded in a longer summary section in which Delgado-Kling employs flashbacks. The summary method allows the author to telescope time, to bind scenes and to build suspense. Delgado-Kling inserts a lot of biographic details about Homero and thus establishes a comprehensive personality profile.
She also contextualizes the events and adds complexity to the story. With the use of extended dialogue, New Journalists tried to capture human interaction in order to convey authenticity. Moreover, dialogue helped them to establish and define character and setting.
Delgado-Kling makes use of this technique, together with colloquial speech patterns and foreign-language words. This not only adds variety to the page, but enables the author to convey an authentic image of the life of the child soldiers. For instance, the reader becomes an eye- as well as ear-witness of the daily routine in the camp since Delgado-Kling uses photographs that show boy soldiers making gas cylinder bombs.
Homero yawned, then licked his lips, like a panther cub. First, empty the gas out of the tank. Next, fill it with metal. All types of metals — nails, wrenches, pieces of iron. He made the others laugh. Furthermore, the name of the male protagonist, Homero, alludes to the Greek epic poet Homer and recalls the hero cult associated with him. I always thought that, even after he told me he had lost count of how many people he killed when he was in the FARC. According to Wolfe, the finest pieces of New Journalism were written in the third person.
Third-person narration enables the author to present every scene through the eyes of a particular subject. This omniscient narrator parallels the first-person narrator who allows the author to reflect on her role as a reporter within the process of writing. I liked him [Homero].
He liked me too, but a question nagged at me: By showering him with attention, had I made him like me? I had just wanted to be thorough in my note-taking. I was afraid of fact-checkers telling me my notes were not reliable enough.
When Homero was telling me about Commander Marta, he emphasized that she was from the southwestern city of Pasto and spoke like a Pastusa. Throughout Colombia, when we say someone is Pastusa, we mean she is slow. The assumption that these techniques reinforce an affective approach to the reportage, as opposed to a more analytical or critical one, brings me back to the writer-reader contract.
For instance, if narrative strategies are not employed carefully and meaningfully in a text, literary journalists may run the risk of perpetuating the current trend toward personalization in such a way that readers are denied access to the complexities of global issues. Moreover, by using literary techniques, journalists are likely to stray into fiction proper. In order to remain credible, however, it is important for literary journalists, in general, and for those who publish online, in particular, to be open about their methods and reporting techniques.
In the case of Delgado-Kling, one could argue that her writing about Colombia is almost like a therapy with which she tries to heal the wounds of her childhood. The desiderata can be seen as possible avenues for online narrative journalism. Mark Bowden recognized this early on. In my interview with him, the Atlantic Monthly national correspondent underlines that the Internet gives the reader the opportunity to arrive at a higher level of involvement.
His article about the Iranian hostage crisis retraces the events between the 11th and the 24th of April, the day of the rescue operation. Prior to writing this reportage, Bowden travelled to Iran to conduct several interviews. He has gathered material about the crisis since In the course of its publication, the original article in the paperback edition of The Atlantic was transformed into a multimedia text for the Internet.
In the digital version of his article, Bowden makes extensive use of hypertextuality, multimediality and interactivity. In the eyes of the author, one of the consequences of this is that the reader becomes a co-author of the text. In other words, the means of immersion for the reader are increased.
Hypertextuality opens up possibilities for segmentation, juxtaposition and connectedness. It also facilitates the exploitation of temporality. Hence, dramatic devices such as flashbacks and foreshadowing acquire a new dimension on the Internet. However, by linking his site to other articles and reports about Iran, Bowden does not automatically increase the authenticity and, by implication, credibility of his reportage.
On the contrary, one could argue that hypertextuality fosters fragmentation and ultimately leads to the disintegration of journalistic texts. In the worst of cases, nonlinear storytelling might contribute to the loss of meaning and cultural embeddedness.
Only if employed carefully can multimediality contribute to a heightened level of authenticity in online literary reportages. By using audio elements interviews, video clips, podcasts , graphics maps, photos and official documents that can be downloaded directly from the site, Bowden utilizes the possibilities at hand in order to increase the credibility of the story.
It is a prima facie example of how the configurations of popular narrative media allow readers to intervene and participate in the storytelling process. The text itself becomes a structural component for the formation of cultural capital which eventually translates into a critical perspective on culture. In fact, there is reason to believe that hypertextuality extenuates the information function of news and, instead, supports this ideology. For instance, the author deconstructs and criticizes the notion of American heroism and the ideology behind it.
The multimedia elements, however, evoke the image of the American soldier as a hero, ignoring the disastrous course of events denounced in the story. Hence, instead of increasing the credibility and authenticity of a literary reportage, the features of the Internet can have a distorting effect.
Bowden acknowledged this problem in our interview. They set in motion the circulation of opinion and offer the conditions in which interactive, popular narrative media can come into being in the first place. Besides multimedia elements, Bowden makes use of interactive features such as feedback forums, discussion groups and chats in order to enhance the multiperspectival nature of the story. For instance, his reportage is linked to a blog on Iranian politics. Most strikingly of all, the web site reflects broader changes and transitions in journalism culture which are inextricably linked to the modulations of various forms of mass communication.
Through the lens of a postmodernist paradigm, the public sphere becomes an arena, a forum where people, although physically distant, can jointly deliberate upon issues and develop attitudes that constitute public opinion. What makes this process interesting is that the more perspectives the reporter includes in the narrative, the more versions of the truth circulate among the readers who eventually construct their own story. The question then is not which version is the most authentic but whether the different versions taken together ultimately represent a surplus to conventional narrative journalism in the many paperback editions of literary magazines.
What gaps does the story have? The calendar and unusual anniversaries suggest stories daily. Feminist literary essays, temple college application essay english sad story essays essay on winter season in punjabi congratulation. A good profile includes vivid description, revealing some personality trait. This is writing fiction. An example to support each primary story point.
Reading: Blundell, page 95 four stages , to and to ; Zinsser, pages 55 to 58; Stepp, 99 to and to
The props of setting can help. Here are the best free blogging platforms:.
All Rights Reserved. Rarely, however, do they paint a picture of place, or take the time to explore the emotions, the motives and the events that led up to the news.