All posts by Michael Burge

Journalist, author, artist

How to write excellent articles

TypeKeysFilledTHERE has never been a time when writers have more opportunity to put work in front of an audience hungry for information and entertainment. Publishing has become a simple matter of processing words and clicking a button. Nevertheless, I am passionate about keeping writing standards high.

Here’s some of what I have learnt about writing and editing features for the past ten years, some of them even published on paper!

Get to the point

Readers are fast and fickle. Good articles pose a question very quickly and get straight to the job of answering it. Even an essay on a complex subject matter will benefit from getting to the point nice and early. Readers can click away as fast as they found you. Engage from word one.

Add to the public record

One of the hallmarks of good journalism used to be standing on the shoulders of the giants who came before us. While the giants may now be in short supply, there’s no excuse for rehashing existing media. It’s a form of plagiarism, really. Reference what has come before, sure, but adding to the story will impress readers who know more about your subject than you do.

Let the reader connect  

Readers love to feel smarter than writers. While you may be able to construe every well-honed argument on your subject, your reader may feel bludgeoned by your intelligence unless you give them something to use their brains on. TV quiz shows always give viewers more time to answer the questions than the contestants. It makes the audience feel smart, and keeps them tuning in. Leave a few loose threads for your readers to connect.

Watch out for your writing patterns

While they usually serve us well, often our unique writing patterns suppress great subject matter with an overbearing style. Throw yourself off sometimes. Make your third paragraph your first, and see what happens.

Keep it simple

Feature writing is not fiction. Keep the adjectives at bay and don’t set the scene too much. You’ll generally be writing about someone else’s truth, not your own, so keep the language less flowery and more factual.

Stick to the facts

In Australia, the Media Entertainment and Arts Alliance (MEAA) has a handy code of ethics some journos have been following as long as others have been ignoring it. It’s just about establishing the truth, truthfully. If your work ever gets picked up by media outlets, and you haven’t fact-checked it already, it, and you, are likely to get dropped like a hot potato. Commenters will rip you apart.

There’s always an angle you just cannot take

Almost every story I have covered has revealed a really interesting angle, what I’d call the ‘real story’, but, for various reasons (usually linked to advertising) cannot be published for fear of offending someone. People are fascinating, we have endless layers of secrets and lies, but if you’re only there to do a write up on their garden (because the sales reps owe them a favour, and you got the unenviable task), you’re hardly going to reveal the reason the garden is so amazing is because it was built on abundant political kick-backs. Stick to the tulips, take the money, and save your award-winning efforts for another time.

Don’t surprise your interviewees

Send them a transcript of what they said, if not a late edit of the whole piece, before publishing and/or submitting, with an invitation for them to amend anything inaccurate but nothing stylistic by a certain deadline. If they don’t get back to you, no problem, you have a paper trail showing they had their chance. Keep all your notes and recordings long after publication. Even the threat of litigation can be hurtful, worrying and expensive for writers.

FAITHFULL INTERVIEW Marianne Faithful playes second fiddle to journalist Lynn Barber in an interview (Photo: Reuters)
FAITHFULL INTERVIEW Marianne Faithful played second fiddle to journalist Lynn Barber in an interview (Photo: Reuters)

Should I be in the story?

The first piece I read in which the journo was the star was Lynn Barber’s profile on singer Marianne Faithfull. Faithfull behaved so badly in Barber’s eyes that the journalist made the first half of the profile about being kept waiting, and filled the second half with catty observations about failed celebrity. Yes, we now live in a world where so much of the media is ‘all about me’, but I believe it’s wise to walk the fine line between these two extremes, and think of the reader first. Unless we’re integral to the story, it’s probable the reader will be more interested in the subject than us. Barber won a British Press Award for that interview, but she has since received death threats, embargoes by other celebrities, and the publisher of one of her later interviews lost a 65,000-pound libel case for malicious falsehood. Putting yourself in an article has consequences, but Barber has often cited her Faithfull interview as a career highlight, so some outcomes can be career-building for journalists. Perhaps wait until you, and you employer, can afford a lawyer.

Stick to the word length

Even if you’re not writing for an editor, have a look at how many words constitutes a good article: they’re rarely over 800 words, and that’s diminishing each year. If an editor requests 800-1000 words, don’t submit 1250, saying, “I didn’t know where to cut”, because it’s annoying, lazy, and likely to see you overlooked for future work.

Read your own work

WRITE REGARDLESSMaybe you’re publishing on your own site. Maybe you’re writing for an editor. Whatever the case, read, read, and read your work. Chances are you’re the only editor your article will ever have. Make it accurate, grammatically correct, and spell-check. Think of your predecessors who never had the benefits of dynamic spelling!

© Michael Burge, all rights reserved.

An extract from Write, Regardless!

Margaret Betts – tree planter

SHE-OAK Hawkesbury cattle farmer Margaret Betts (Photo
SHE-OAK Hawkesbury cattle farmer Margaret Betts (Hawkesbury Gazette).

A Writer’s encounter with a rural rebel

MY two decades of research on the descendants of Mary Pitt eventually led me to the Hawkesbury Valley, where many of Australia’s first settlers were granted land for the purposes of contributing to the survival of the fledgling colony by farming.

With their indelible link to their benefactor Lord Nelson, the two Pitt family farms were named, at different times, ‘Nelson’ and ‘Trafalgar’, in the wake of Nelson’s great 1805 maritime victory at the Battle of Trafalgar.

Finding these original land grants took time.

Nelson Farm had gone by another name for many years, but, as I was to discover, it was still under the stewardship of an indefatigable woman. This feature was published in Blue Mountains Life in June-July 2010.

Out on a Limb

How Margaret Betts reforested an original Hawkesbury farm

On Nelson Farm near Agnes Banks stands a house known as Bronte, with uninterrupted views of the Blue Mountains.

Even before this region became the cradle of modern Australian agriculture, the fertile river flats yielded food for generations of Aboriginal people.

The house is positioned on an 1802 hundred-acre grant of land to Thomas Pitt. Originally called Nelson Farm, the property was amalgamated with adjacent land granted to Thomas’ mother Mary Pitt and renamed Bronte.

This name remembers British naval hero (and Mary’s benefactor) Lord Horatio Nelson, first Duke of Bronte.

022-cropped1
HAWKESBURY HOUSE Bronte on Nelson Farm (Photo: Mary Matcham Pitt family history website).

Mary Pitt’s land grant was eventually sold off, although Bronte remained in the family until 1919.

The impressive mid-Victorian building is not the original, but from Castlereagh Road, the giveaway stands of hoop pine (Araucaria cunninghamii) and bunya trees (Araucaria bidwillii) reveal traces of the original settlers’ use of the land.

Many Hawkesbury heritage properties are open to the public or have become public places, but Bronte on Nelson Farm has always been in private hands, and a working farm since 1802.

The current owner, Margaret Betts, has lived there since 1998, and her parents William and Mary farmed the land since 1955.

“Dad did the hard work and Mum did the reading,” Margaret says, recalling her parents’ years as dairy farmers at Bronte. “They were both from logging country, so they were both what you’d call ‘old school’ farmers,” Margaret relates. “Trees, to them, were just something that sapped-up the goodness out of the soil.”

Mary Betts’ wariness about trees on dairy country became particularly pertinent in 1998, when an enormous oak tree came down in the westerly wind the night after she died, an event which made the local news.

Margaret recalls many such nights taking their toll on the few trees left on the property, and she realised “that if we didn’t do something about it, there’d be nothing left.”

Margaret knew the farm’s history, including the years when her father leased acreage to vegetable farmers with a strict stipulation to leave the stands of Casuarina running down the spine of the property towards the river. “They killed the lot,” Margaret remembers, “and they were original trees on the property.”

For someone who spent her career teaching music and in school administration, continuing her parents’ work at Bronte seems like a totally new angle for Margaret, but I get the feeling she sees farming as something in her genes, and that common sense counts for more than experience.

Margaret had a plan to develop beef production at Bronte, with very different needs to dairy farming, and certainly requiring a lot more shade than vegetable fields provided.

“I could have counted the remaining trees on one hand,” she recalls, “and I needed to do my research,” Margaret stresses.

“This region is part of the Cumberland Plain, in terms of its vegetation. If I was going to plant a large amount of trees I needed to know they were going to be viable.

BUNYA PINE Araucaria bidwillii (Photo: Bidgee)
BUNYA PINE Araucaria bidwillii (Photo: Bidgee)

“We’ve had hoop pine and bunya growing here for well over a hundred years. The settlers planted those, and even though they’re not native to this region, they’ve done well.

“At one stage the bunyas at Bronte were described as the largest stand in the western suburbs, but they’ve very much diminished in recent decades.

“I propagated seedlings from ours and they came up no problem.

“Hoop pines need shelter to get established, but the bunya trees just take off. There were also a few Kurrajong trees (Brachychiton populneus), and quite a few local gum trees which I assumed would do well.”

“But I also remembered the Casuarinas, which are local,” Margaret says. “In my research I found they were one of the only trees which soak up pesticides.”

With high use of pesticides on all sides of her property, Margaret had stumbled on a natural solution to an age-old problem.

The planting of trees did nothing for relations with her neighbours, particularly the vegetable farmers. “They thought I was destroying good farming land,” Margaret says, “so I got a lot of abuse. I still do, only last week one of them was shouting at me over the fence. I just wave back,” she laughs.

“I taught many of them, so they know what I’m like,” she hastens to add, illustrating how her resolve to reforest Bronte has never wavered.

After failed attempts to establish Landcare groups in the area, Margaret realised that if she was going to succeed then she needed to take action on her own. She also discovered that the tree problem was not just apparent above ground – the local water table was severely degraded.

After generations of development, the original reservoirs and lagoons of the Agnes Banks region had become choked with weeds (including water hyacinth and alligator weed), and polluted with litter and sewerage.

Insufficient drainage and water retention from nearby farms meant the water supply for Bronte was contaminated, and that affected Margaret’s cattle with outbreaks of salmonella.

The water problem only seemed to sharpen Margaret’s resolve. “At one stage I was planting around thirty trees a day, I must’ve planted thousands of them over twelve years,” she recalls.

“If you looked out here in 1998,” she says, throwing an arm out to the vista above the nearby Hawkesbury River and distant Yarramundi Lane, which is her western border, “there were only these trees close to the house and little else.”

Now, in a great green belt below Bronte is a reforested barrier of green, mainly Casuarina (river she oak, and swamp she oak), looking more like the glimpses of natural bush at the foot of the Mountains across the river. Twelve years seems like barely enough time for this result.

“The cows love the shade, they’re up here under the trees by seven o’clock on a hot day. The trees have also brought the birds back,” Margaret adds, which surely must annoy the vegetable farmers, I suggest.

“Birds are a natural pesticide,” Margaret replies.

“The water table has been improved so much with those trees,” she indicates, and indeed there are shallow lakes at intervals along the lowest points of the property.

“It’s made me more conscious of water,” Margaret says, “but we need clean water,” she adds, explaining that drainage problems caused by the use of poultry litter as fertiliser on higher-set nearby farms, combined with ineffective Council drainage along the road, contributes to the continual pollution of Bronte’s water table.

The solution was to drill a bore. “Dad was an excellent water diviner,” Margaret recalls. “He found the old wells on the property that way,” illustrating how Bronte’s past has once again become a part of its future.

The Department of Environment and Climate Change Cumberland Plain Recovery Plan draft document of November 2009 suggests private land holders like Margaret are on the right track: “Conservation of the rich biodiversity of the Cumberland Plain in western Sydney is one of the most challenging issues facing natural resources management in New South Wales,” the introduction states.

“Extensive loss and fragmentation of vegetation has occurred, land values are high, and competing land uses are placing extraordinary pressures on the remaining areas of bushland in the region.”

“You’ve really got to take care of your patch, and keep at it,” Margaret says. “I won’t see most of what I’ve planted come to anything, but others will,” she adds, indicating the hoop pine saplings she propagated and planted, trees which will stand long after their parents have fallen.

© Michael Burge, all rights reserved.

This article appears in Michael’s eBook Pluck: Exploits of the single-minded

 

On the Board at Fox Studios

Hi res Fox Colour_0How a Writer’s op-shop jacket got him cast in a commercial.

Towards the end of my acting training my class appeared in The Legend of King O’Malley by Bob Ellis and Michael Boddy. In preparation for the title role, I scoured the local op-shops for weeks in search of my costume.

Having been an inveterate op-shopper for years, I knew the chances of finding anything my size were slim, so when I discovered a light green plaid jacket, the sleeves of which covered my long arms right to my knuckles, I rushed to pay the hefty $5.

But hey, I had an outfit that didn’t pinch me in the shoulders or make me look like Frankenstein, wrists exposed from cuffs halfway up my forearms. I felt able to play the man (“The King”) who had such an impact on the formation of modern Australia.

About a fortnight after the show, I was rehearsing for a production of The Popular Mechanicals by Keith Robinson, Tony Taylor and William Shakespeare, at Penrith’s Q-Theatre, when I got a call from the only agent I’ve ever had (who recruited models and actors through letterbox drops), asking me to attend a casting session for a car commercial at Fox Studios in Sydney. “Dress corporate,” she said.

My only smart jacket was King O’Malley’s. Matched with a business shirt (I had to fork out another $2), I looked about as corporate I was ever going to get, and plonked myself down in the casting office waiting room, surrounded by people in black and grey.

We were seen in groups, seated in a mock boardroom complete with a whiteboard, and launched into a board meeting improvisation. I was asked to stand and play the boss, whiteboard marker in hand.

BOARDROOM BITCH Faye Dunaway as Joan Crawford in Mommie Dearest.
BOARDROOM BITCH Faye Dunaway as Joan Crawford in Mommie Dearest.

Having spent months in theatre training, I was used to playing to the car park, so I was drawn to channel Faye Dunaway playing Joan Crawford in the Pepsi Cola scene in Mommie Dearest, (“Don’t f#%k with me fellas!”), and launched into sacking the whole lot of my motley staffers.

A note from the big wigs in the shadows, behind the camera, asked me to “Do it again, but tone it down.”

So I changed gears, made it quieter, colder, figuring they might be framing my head and shoulders. My fellow actors looked back at me with fear. Before I knew whether they were acting or not, we were shuffled out.

At the callback we had to imagine, on cue, a wonderful new car driving past our meeting, which was so innovative and attractive that it stopped us, and all our corporate musings, in shock. The result was several rounds of dreadful face pulling, and a bit of inappropriate chuckling.

But I got the gig!

Marched before the director at the costume fitting, “The Board” all looked at me when he asked “Where’s your green jacket?”.

“At home,” I muttered, feeling like I’d worn the wrong gear to sports class. “Can you bring it to the shoot? Can he bring it to the shoot?” he asked, not allowing me to say anything to the first part of his question. The costume designer looked at me with daggers in her eyes, nodded, and marched us out.

There was me thinking it was my well-honed acting skills which got me the job!

On the day, “The Board” waited in a bland green room at Fox Studios, where we worked out very quickly that only one of us could be defined as a “proper” actor – the NIDA graduate cast in the role of “The Boss”. The rest of us were ring-ins, really – a film festival producer, an accountant, an ad sales-rep – all earning far more in one day than we’d ever get in our day jobs.

If we made the final cut, that is. Word got around the set that the director was speculating on too many scenes for his Asian-screened commercial, and if we got cut we might get nothing.

No-one said it, but everyone on “The Board” thought “Don’t f#%k this up, people”.

We were fetched by a man with five mobile phones on his belt, seated in front of a blue screen with a small black track across it, given two quick rehearsals to aid in focussing on the fluorescent taped mark as it sped by (indicating where the “car” would be keyed-in by the editors) and then we were on.

I was seated with my back to the “car”. After the first take, they asked us to take our cue from the NIDA graduate, who was to take his from the director. We were all to be amazed by the “car” at different moments.

After a few more takes, a message came through to the NIDA graduate that he needed to do his turn, his “discovery” of the “car”, “less Broadway, please”. Everyone chuckled, because he had, actually, been having far too much fun with it.

A few more takes later, I shoved some papers off the table, on purpose. “Upstager!” I imagined the NIDA graduate say under his breath. But they liked it, “Keep the papers falling, please.”

A few takes later, they asked for me to take my green jacket off and put in behind me on the chair and roll up my shirt sleeves. No problem, it was getting warm anyway.

Then things started to go a little awry. The NIDA graduate was turning early, which put us all off. The message came through to “Stick to the cue, please”.

Bemused, sweat trickling down his temples, the NIDA graduate looked as though he really was earning his extra dollars for being slightly more featured in this commercial than us ring-ins. While they reset the marker, he leant across to me and whispered: “What’s my cue again?”

“When the director says ‘action’,” I whispered, as reassuringly as I could.

A few more takes later and it was all over. “The Board” was marched off the set to loud applause from the clients, clustered around a mock living room at the edge of the sound stage.

THE BORED MEMBERS Corporate grey is good, but green is better.
BORED MEMBERS Corporate grey is good, but green is better.

“When do you think we’ll get paid?” one of “The Board” asked back in the green room. “Don’t be so cynical,” the guy with five mobile phones said, calling-in the two models cast in the scene where the secretary gets ravished on the photocopier by some random office guy, after seeing the “car”, or course.

We cynical non-actors laughed, exchanged business cards, raided the fabulous leftover catering, and departed.

I drove back to Penrith for the technical rehearsal of The Popular Mechanicals, which was to open in only a few days. After all the blood, sweat and tears that goes into putting anything onto the stage, we played to some houses comprising fewer people, showing less enthusiasm, than the ad execs after “The Board’s” gripping performance at Fox Studios.

And we got paid nix. Welcome to Showbusiness, Mike.

I kept the green jacket for a few more years, but ditched in a hurried move, and I have never acted since I gave it up. Maybe it was my Good Luck Jacket?

© Michael Burge, all rights reserved.