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Patrakar types

Editors from hell

Could sub-editors please be more careful while editing articles? And giving away e-mail IDs and phone numbers is not cool.
by Vrushali Lad | vrushali@themetrognome.in

Okay, first off, Mid Day. What were you thinking with this story of a boy arrested because he sent a photo cake to a girl he liked? Your story is eminently readable, but what was your sub-editor and page editor doing when they overlooked one important detail while checking the story: your paper printed the email ID the boy used to send the girl’s picture to the cakewallahs.

What’s worse, NDTV‘s website picked up your story, and printed it as is. No, not really as is, because NDTV changed the story’s headline to the puzzling: ‘In trouble for sending photo of cake to a girl’. A question to the NDTV sub-editor who changed the headline: Why did you change Mid Day‘s headline to read ‘photo of cake’ when you clearly meant ‘photo cake’? (An aside here is that the story would be doubly interesting if the boy had actually sent just a photo of the cake and not the cake itself. If somebody did that to me, I sure as hell would go to the cops.)

A few days ago, a Mumbai daily carried the headline, ‘Man shoots dead builder’. At first glance, it seemed like a case of extreme cruelty – I mean, why shoot a dead man? Another news item last month, about a man making prank calls to a woman at work, gave away the telephone number the calls were made from.

All of this makes the police’s precaution of hiding an accused’s face from public pretty redundant.

And it’s not just newspapers, it’s also television. A few days ago, IBN Lokmat did a charming special on Dev Anand’s birth anniversary, and showed the late actor’s songs and a few interviews of people who had worked with him. Each song was accompanied with the lyrics of that song being flashed across the screen. But when the song ‘Ek but banaoonga…’ from Asli Naqli started, IBN Lokmat’s lyrics read, ‘Ek putar banaoonga…’

A rather funny and insensitive editing error occurred recently with The Times of India placing an ad for Good Day right in the centre of a grim news story of a man killing his own kids (see pic on left). Other regular offences that editors commit are publishing pictures of minors, whether accused of a crime or the victims of one, without blurring their faces or changing their names, and often choosing to blur the faces of women and not men.

And it’s not just obvious elements like headlines and what goes in the main story that comprises editing goof-ups. Several times, reporters write an article with an obvious slant – for instance, political and crime stories, in which the writer’s biases clearly reflect in the article he/she has written – but editors checking those copies let the slant remain. The result is stories such as the Bidushi Dash Barde case, in which most reports blamed the dead woman’s husband without actually saying so, with phrases like, ‘He called her only once in the morning despite knowing that she was ill’, and ‘He was calm and answered all questions without breaking down.’

When I still worked with newspapers full time, I had an almost daily run-in with the paper’s editors. Once I waged a war against a particular sub-editor, who had not only mangled my story, but changed the headline I had given to the story with the sensitivity of a speeding truck. Imagine my chagrin when I read the papers the next morning and saw that the sub-editor had altered my headline ‘Youth win award for propagating gender equality’ to ‘Youth win award for fighting molestation’.

I used to think sub-editors and editors above them are people with eyes like hawks, and the brain capacity of an encyclopedia. At least, that’s how they used to be. Earlier ‘deskies’ were people who used to be reporters, and journalists who read constantly on a variety of subjects. This sharpened their intellect – an editor had to know more on a subject than a reporter – and gave their language an edge. And you couldn’t become a deskie just by applying for an editor’s job; you had to slog your way through the reporting ranks before being elevated to a desk position.

For the last five years or more, however, newspapers and channels are increasingly hiring desk personnel for their knowledge of English alone. Proofing of articles has now been reduced only to grammar and spell checks, which even the reporter himself can do on MS Word. And then there are new concepts such as Rewrite Desks that are operational in major newspapers – this Desk’s job is to go batshit crazy on articles that have not been written well. In other places, we are told, there are three levels of editing to pass through before the article is considered final.

And despite all these precautions, we still end up with gems like ‘Photo of cake’.

May be we should have a Corrective Measures Desk above the sub-editing desk…?

Vrushali Lad is a freelance journalist who has spent several years pitching story ideas to reluctant editors. Once, she even got hired while doing so.

 (Feature image courtesy ipjtraining.com. Picture used for representational purpose only)

Categories
Patrakar types

Don’t wanna miss a thing

Why do papers and channels think people are interested in knowing who broke a news story ahead of the competition?
by Vrushali Lad | vrushali@themetrognome.in

When I was employed with newspapers full time, the biggest issue I faced was not that I hadn’t properly expressed myself in a story I wrote for the day’s edition, or that I hadn’t packed in enough detail. No, the one big issue, and it was the first thing that struck me when I woke up in the morning, was:

“Have I missed a story?”

Most reporters wake up and check their phones for messages and missed calls – with thoroughly guilty consciences – from potentially irate editors. The best feeling in the world is to know that the office did not call or text while you slept, and that the worst that happened to you was that you won the Coca Cola Lottery again this week.

The feeling of contentment lasts but a few seconds. Reporters then leap at the newspapers – of which, each serious journalist’s house will have at least seven, sometimes in more than two languages – and study the news sections as if preparing for a pop quiz. And while they’re sitting in a sea of newspapers, they’ll also check the TV news. I know reporters who read newspapers, hold the TV remote in one hand and their BBs in the other, and simultaneously check the news feeds on all three.

This enthusiasm serves three functions – one, you know what the competition has published and you haven’t; two, you know if your story really was ‘exclusive’ or not; and three, you can mentally prepare your arguments for and against a certain item in a rival publication or channel (“But sir, what do you mean ‘Why don’t we have that story? YOU told me not to write it!”)

In the event that a reporter has missed a story, a new drama unfolds. He has to first pick up the phone and confirm if the rival’s news is true or a random tweet. If true, he has to get to work and track a good follow up to the story. Meanwhile, he has to count to 100 while his boss tells him, in 10 different ways, that he is an incompetent ass. After that, he has to promise himself never to miss a story again.

I used to be part of these shenanigans myself, and when I would tell my mum about it (my mum is this erudite, painfully analytical woman who has often given me stories) about how I missed a story and what a big loss it was to my paper, she would shoot me a look that said: So?

Over the years, you learn to calm down about missing a story, because in the larger scheme of things, you find that people don’t really care if you missed reporting about a factory opening in Ulhasnagar, or if an aged actor was admitted to hospital for an ingrown toenail. But try telling that to your editor. The merest suggestion of, “But how is this important to our readers…?” has made many an editor foam at the mouth and throw furniture at the staff.

Similarly, readers do not care if you were the only one in the country to report something that the others didn’t. So claims of ‘We were the first to report that…’ or ‘Remember, you read it here first,’ only open you up to ridicule. Again, reminding an editor of this is akin to stealing birthday cake from the birthday boy’s plate.

People only want to be told the news truthfully and completely, in a way that doesn’t insult their intelligence. Readers can see right through a plug, they are not impressed with claims of ‘The Home Ministry took this action after our report’ and if you want to see a reader’s blood pressure shoot, put a chaddi-bra ad on the paper’s front page. While papers and channels are playing Hits And Misses all day, their readers are reading the line ‘We told you first!’ and thinking, So?

Vrushali Lad is a freelance journalist who has spent several years pitching story ideas to reluctant editors. Once, she even got hired while doing so.

(Picture courtesy www.thehindu.com)

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Read

‘Some authors want everything right away’

Popular Prakashan’s Vinitha Ramchandani describes the author habits that drive her crazy. Plus, tips on pitching your book to publishers.
by The Editors | editor@themetrognome.in

Popular Prakashan is 85 years old, and though better-known for its non-fiction offerings, the publishing house also delves into fiction and children’s books. We got its editor Vinitha Ramchandani to tell us several things – like the stories she is most likely to pick up, what she thinks about Chetan Bhagat’s style of writing, and what authors should and should not do.

Is there a thumb rule for selecting a manuscript for publishing?

At Popular Prakashan we do both non-fiction as well as fiction, and we get all kinds of manuscripts. For non-fiction, we look for depth in research, strong language and what the MS (manuscript) is trying to convey. When it comes to fiction, it is how well the story catches one’s attention. Anything that is absorbing, basically. Fact is, when a manuscript comes in to a publisher, anything that has bad language is a no-no, a total put off.

In recent times, especially after Chetan Bhagat came out with books that were completely Indian in sensibility, a lot of people have started writing books. What is your take on this trend, where every person with a story to tell is writing a book?

Chetan Bhagat made big money by selling large numbers. However we’ve had Indian authors who wrote with Indian sensibilities for ages now! Rabindranath Tagore, RK Narayan, Mukul Raj Anand, Khushwant Singh and Satyajit Ray are icons who wrote in English and for and about ordinary Indians. Contemporary greats like Salman Rushdie, Amitav Ghosh, Arundhati Roy, Kiran Nagarkar…the list is endless. It is a pity if all we can remember is Chetan Bhagat, who simply has mastered the technique of selling mediocre work.

Yes, everyone does have a story to tell, however not all tales get told. When you get into the world of book publishing, you will realise that the competition to get printed is tough. However blogging, self-publishing and e-books are becoming big and yes, if you are certain that this is what you want [to do], then there are more and more options that are opening up.

What are some common author habits that drive editors up the wall?

Authors who have one book that they do a year or two (of course, there are some who write more than three to four books a year) forget that publishers do more than one book, and that we have many authors who we deal with at the same time. The other thing that can be exasperating, is when an author travels to, say Hubli, to a tiny store there and calls us up demanding why they didn’t find their book there. The third is when authors constantly expect publishers to do PR work for their book through the year, year after year.

In your experience, has there been an author(s) who has been really difficult to work with? Why?

Oh yes! I’ve had a couple of authors who want everything they demand overnight or—better still—right away. These are the ones who are brand names. Then there was one who wrote a mail to me and copied the management on it, and something like that can really ruin an author-publisher relationship. Mostly though, I’ve worked with authors who are understanding and have been patient. Some of the brilliant social sciences authors are simple, look completely unassuming in their chappals and kurtas, carrying their MS in a cloth bag…one can’t help but feel humble in front of their work.

What should first-time authors bear in mind when sending manuscripts for evaluation?

One, send your manuscript with a good cover letter, which talks a bit about the work being sent and about the process of writing as well as the author. In today’s day and time, when there is so much advice that you can access online, it continues to amaze me that there are people who send manuscripts with one-line cover letters. Trust me, who you are, how old you are, and how you can sell yourself, all help to create a base before I even open and read the MS. Of course, a good MS is unbeatable, and no matter how curt you cover letter is, if you have a good MS then there is nothing to worry.

Two, research publishing houses. Find out what kinds of books each publishing house is inclined to do. Sending your adult fiction to a publishing house that prefers to do children’s fiction is self-defeating. Or, if it is short stories that you are writing, then look up and see which publishing house prefers to publish short stories.

Three, and I never did this but if I ever write again this is what I will do: (a) Send your MS to as many publishing houses as possible. (b) Make an excel sheet and jot down the place (publisher) you send your MS to, the person who you addressed it to, the date you sent it and if possible, the date in which you received an acknowledgment of their receipt of it. (c) Wait patiently for a month and then start sending reminders – polite ones.

Of the many famous writers based in Mumbai and writing on it, or taking inspiration from the city, who are your favourites?

Kiran Nagarkar is my favourite Mumbai-based writer. There are others too, like Suketu Mehta, Vikram Chandra, Salman Rushdie, Kiran Desai, Anil Dharkar, Upamanyu Chatterjee. All of them have powerful ways of telling a story.

In your opinion, who are the writers to watch out for in Mumbai?

Why stick to Mumbai? Writing should not have geographical boundaries. I think Siddharth Dhanvant Sanghvi is a novelist to watch out for. But I usually read children’s fiction and I love the work that a handful of Indian writers are coming out with, pan India.

(Featured picture courtesy www.selfpublishingreview.com)

 

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