20190926_040838699.pdf - 10 of the time I got to cut stories”(p.5 Weister won the NPPA editor of the year award for two consecutive years and then

20190926_040838699.pdf - 10 of the time I got to cut...

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10% of the time I got to cut stories” (p.5). Weister won the NPPA editor of the year award for two consecutive years and then left the news business to work for a company that produces longer-form projects such as documentaries. His is the perfect example of the downside of a system that prefers shareholders over viewers: eventually, those editors who wish to engage in narrative editing norms and routines can become disenchanted with the entire system and move on to industries like film or documentary where they may find greater support for their art. If viewers need these editors to provide them with useful narratives, and the system inspires talented narrative editors to leave the news industry, then, as was stated earlier, the viewer ultimately loses out. Two Sets of Norms Kehe teaches editors to use narrative editing techniques to include such elements as characters, moments, surprises, and drama (Kehe, 2007) and believes that the best reporters in the country, “apply the same storytelling skills to spot news that they apply to their feature reporting, sports reporting” (p.9). Editors, then, who learn to carry out 46 account routines by editing clean, fast, accurate pieces can still be considered technically proficient, but their work is missing a quality that the NPPA and its members clearly value: narratives in news. This is also why Schaefer recognized that editors do not share a language: some editors, like Kehe, train at a station that supports storytelling. Other editors, like Shea and Weister, come up in a system that promotes continuity editing first and foremost. Sometimes these editors determine early on that editing is a craft that its practitioners are meant to hone, even if it means learning from sources outside of the station in which they work. Storytelling skills, then, come from three main sources: station training, which is rare; outside training, such as NPPA workshops that fall outside daily routines because they are voluntary and demand the editor’s own time and money; and, lastly, learning by mimicking the work of other editors.
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