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Writing in the midst of tragedy
By Amanda Southall
Some stories are so powerful that they rattle even the writers
to the core. Last spring I reluctantly found myself at the
center of an international tragedy when Seung-Hui Cho killed
32 people and himself at Virginia Tech, my alma mater.
Before I even had a chance to contact my brother, a sophomore
at Virginia Tech, an editor sent me to Blacksburg with five
assignments. By the time I reached campus the tragedy hit home
when I learned that a close friend of mine was in Norris during
the shooting and that the sister of another friend was killed.
By the end of the week another editor unearthed an article
about Tech’s mascot I pitched almost two years ago. During
the day I was attending press conferences, conducting interviews
and contacting editors. After the work was done, I was struggling
to make sense of what happened to people I care about in a place
I loved.
Tragedies present a unique blend of challenge and opportunity
for writers. Along with a variety of stories to be told comes
the difficulty of working in an emotional environment.
Whether it is national, local or personal, every tragedy has
victims with dynamic stories to tell.
When writing about tragedy, it is important to remember to
consider the victims, the story and yourself.
The victims: First and foremost, victims and survivors should
be treated with dignity and respect. Approach your subjects with
sincere honesty and sensitivity. If your goal is to exploit their
experience they will sense that immediately. Clearly identify
yourself, where the article will appear and what it will convey.
In the interview phase, prepare to listen. Talking is the worst
mistake you can make in an interview. Don’t start with the hardest
questions. Instead, open with general questions and see where they
lead “What can you tell me about Chris’s life?” or “What were some
of Kim’s hobbies?”
If you don’t make it to the interview stage, leave your number or
card and explain that you can be reached if he or she wants to
talk later. Some of the best stories start off with rejection.
The story: Difficult stories should be told with overt accuracy,
specific details and sensitivity.
Before you write, check and double-check facts. Your interview
subjects may be confused or distracted so ensure accuracy by
verifying names, spellings, and even events.
When you start writing, tell the story without harping on gory
details. Include pertinent facts that will tell the story without
doing unnecessary harm to the subject, or the readers. Focus on
specific information that will connect readers with the story
rather than shock-value anecdotes. A truly life-changing experience
doesn’t need to be dramatized or exaggerated.
Yourself: Most writers don’t foresee being affected by covering
a traumatic event, but Ernie Pyle knew better. His coverage of
World War II earned him the Pulitzer Prize in 1944, but tested
his spirit: “I’ve been immersed in it too long. My spirit is
wobbly and my mind is confused. The hurt has become too great.”
Interacting with victims or witnesses of traumatic events can take
its toll. To truly write and convey the emotions of a traumatic
event the writer must actually feel those emotions. Be prepared
for the psychological stress that can come with being immersed in
a traumatic event through experience, interviews and the writing
process. In the midst of writing about a traumatic event know your
limits, take breaks, and talk to someone about your experience.
Learn how to deal with the stress, and if it seems too overwhelming,
seek professional counseling.
Traumatic events impact and connect the human spirit like little
else can. Putting someone else’s life-changing experiences into
words is both a challenge and an honor that should be handled as
professionally and humanly as possible.
BIO
Amanda chose not to have a bio.
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