Mark Lee Hunter and me, Lillehammer 2015
“Hunter and Sengers unpack the essential elements of writing like an anatomy lesson” – Mark Schapiro, environmental journalist
“It was both inspirational and deeply practical. It left everyone feeling uplifted” – Vin Ray, former editor in chief, International, BBC
“It was an eye-opener for many that you can work with a hypothesis in this way” – Nils Hanson, editor at Uppdrag granskning, Swedish Television
“A must for anyone who wants to make the difference in journalism” – Thomas Van Hemeledonck, chief-editor current affairs Telefacts, VTM Belgium Television

The Tools & Techniques of Story-Based Inquiry

Story-Based Inquiry is practiced around the world. It has been hailed for its robustness and simplicity. If you are unsure of how to undertake long-form projects, or feel the need to make your work more efficient and powerful, this seminar with the creators of Story-Based Inquiry will help you.

Story-Based Inquiry is a method for researching and writing long form journalism as a single integrated process. It begins with a hypothesis, a provisional story that defines and guides our project. A timeline and source map pinpoint what we are looking for and where to find it. A master file keeps the research together, serves as the backbone for the finished narrative, and provides a database for future projects.

Part 1: The basis.
Hypothesise your story Investigation has a dirty name with editors, who think it’s about slowly rummaging through piles of garbage till you find (or don’t find) a jewel. Too often, they’re right. This session will show you how to choose a subject and define your investigation as a story from the start, using hypotheses. The method helps you figure out what to look for, how to look for it and how to sell it to your boss and the public.

Part 2: Creative Techniques.
Timeline and Scenario In this session we map the plot of a story – a sequence of events that must have occurred, which we can subsequently verify and enrich. Simultaneously, we create scenes, with characters whose actions and conflicts define the content and meaning of the story. These events lead to the sources you need.

Part 3: Build assets for the story and beyond.
Source Mapping and MasterFile This session begins with an extension of the timeline -- a map of the actors in your story and the sources they hold. Now that we've shown you where to acquire information assets, we'll show you how to optimise them! We'll create a simple but effective database in which you collect the results of your investigation. This "Masterfile" makes it easier to structure your story - the hardest part of composition. It's a way to write while you research, instead of first researching and then writing. It's also a way to build resources for a long, successful career.

Part 4: Craft the Story.
Narrative effects and quality control This session shows you how to compose a story that hits hard and fast, and builds to a powerful conclusion. The core of this method is continuous composition and referencing - an approach that saves both time and anguish, for you and your colleagues. We turn the Masterfile into a narrative structure based on a chronology or a sequence of themes and characters. We apply techniques for controlling rhythm, the element that keeps your audience watching. We finish with quality control - reducing the risk of mistakes that can cause damage to others and your own reputation.

Participants are urged to provide their own project ideas, outlines, or a published sample before the seminar. We will use this material in class, as a basis for instruction and coaching. All participants agree not to use each others’ ideas for their own purposes, except in explicit partnership.