By Syaura Nashwa (24S03R)
This article is dedicated to future Pressies (Raffles Press members) who are keen to learn about the ethics and the art of interviewing. This piece is heavily inspired by one of Singapore Writers Festival’s events “Lines of Questioning: The Art of the Interview”!
The Journalist’s Voice
I had the honour of attending this year’s SWF, which was held in collaboration with the US Embassy and centred around the theme “Plot Twist”. With 200 events spanned across two weeks, SWF aimed to create space to ponder profound questions about our identities and what legacy we can build during our limited time to aim for a better future by being ameeting point for writers, academics and thinkers.
“Lines of Questioning: The Art of the Interview” was panelled by three highly accomplished journalists in their field. Since I was a Pressie, it was a joy to sit and listen to the discourse of writing and interviewing.
The three panellists of “Lines of Questioning: The Art of the Interview”: Fabien Fom, Shibani Mahtani, and Melanie Oliveiro
Oliveiro neatly summarised the significance of interviewing, “the tables have turned here; The topic focuses on the journalist and instead of the stories they tell.”
Prepare and Research
As a radio host, Oliveiro spends extensive time researching her interviewee. This includes reading virtually all articles and past interviews about them. Being a broadcast journalist also involves fashioning her knowledge into something conversational. This way, it is packaged into a chat for someone to understand. A layman wouldn’t necessarily be interested in listening to huge walls of expert jargon. Instead, tuning in to stories that are easy to digest would be much more appropriate and easier for the general audience.
When you imagine a young journalist (like Rory Gilmore), you’d probably imagine someone researching on their computer for hours. Then, they’d interview someone while looking at their notebooks, scared to leave anything out.
Though, Mahtani brings another perspective to the table. A foreign correspondent also covers “bad news” like natural disasters, shootings, and protests. These are time-sensitive issues which involve those who have been affected by them.
In these cases, you have little time to research. You have to decide whether it’s helpful to share and what kind of situations you want to put people in.
Gain Their Trust
Journalism covering sensitive topics like political unrest requires lots of source protection and digital security.
Investigative reporting tackles highly-charged situations. Mahtani advises you have to protect people you’re interviewing but also gain insight such as insider knowledge. For example, using masks to stay anonymous. However, you have to explain to your editors and bosses why your interviewees deserve protection.
I’ll do my best to keep you safe.
Shibani Mahtani
Fom, a fashion writer, notes that you have to ensure your subject is well-fit into the feature of your story. Pre-sending questions is a good way to structure your narrative, but don’t send all the questions! Having room for spontaneity gives a layer of genuinity and truth that readers will appreciate.
He notes that the main star of the show is the people, and sometimes you have to make them look good. You must take time to grasp that public figures are highly trained with the media. Thus, patience to get to the crux of the subject matter is crucial, and that involves seeing through the PR fluff.
Remain Objective
The key principle of journalism is that you are not the subject matter. You are a “conduit” of sorts and your job is to tell someone’s story. However, if you have ideological differences with your interviewee, what can you do?
The most important thing to remember, especially if your interviewee says something controversial, is that you don’t have to agree with them. You have to stay within boundaries and drive the change. Is there an impact you’d want to make with your disagreement?
You also have to take note that you carry yourself and the image of your publication. For Pressies, we represent Raffles Press and our school. When you arrange interviews or cover events, you have to decide on an angle clearly. How do you want people to perceive your coverage, and what exactly do you want them to learn?
Oliviero advises separating your beliefs and wiping your mind clean before the interview. After all, your interviewee is the topic expert that will share their experiences with you. They have shed “blood, sweat, and tears” for their work and carry their battle scars.
At the end of the day, it’s not about you. Give undivided attention. You are a conduit—that’s all you are.
Melanie Oliviero
Have the Heart
Sometimes observation is better than conversation.
Fabien Fom
In specific cases, like celebrities or people of authority, you may get disappointed with the answers you get. Perhaps they aren’t genuine in their answers or they don’t take your questions sincerely. This is where you have to link back to the topic at hand.
Interviews aren’t just Q&A sessions. As a journalist, you have a duty to read between the lines and observe any implied meaning.
Oliviero notes that interviewees “should put down the answer sheet” and answer organically. As a journalist, you should get an intimate connection with the subject. What is it to be human in the work they’re doing?
Sometimes, you can even hear the quiver in the voice they’re about to cry. Sometimes, you can sense their body getting stiff when they’re getting tense. You should possess the eye for observation and heart for sensitivity. This way, you can get to the crux of what really matters.
Adapt to Change
Citizen journalism is conducted by people who are not professional journalists but who disseminate information using websites, blogs, and social media. They may cover stories that are not given attention by mainstream media and publications. However, it is to note that even if they may bring valuable insight, they lack the editorial standards and fast-checking rigour.
Apps like X (formerly known as Twitter) is where citizens drive information. Now, the journalist’s role is to capture and react. Since the sequence of events in the political climate is fast-moving, citizen outlets and publications do have a difference in credibility.
Most of the time, citizen outlets are not accredited, and hence do not have the networking or resources like the national broadsheet. Hence, when something sensational pops up, oftentimes there will be a lack of fact-checking and thorough verification from affected parties.
There is falling viewership for mainstream publications due to migration to digital media. For instance, US news now rescale their target audience from the global community to the US population.
In the face of these challenges, you have to be more strategic in your writing. After all, you have to sell your story to editors and readers. Mahtani notes that incorporating good visuals and aesthetics capture the reader’s interest. This includes photos and video stories.
Ultimately, you shouldn’t cater to anyone that throws money at you (I know we’re a school publication, but you get my point). Now, the lines of journalism and what you can ask are getting blurry and expensive.
Do your job well and deal with the consequences after.
Shibani Mahtani
Conclusion
A journalist has power in the sense that they craft their own narrative. Whatever combination of words and syntax you use should be deliberate. Whatever questions you ask should be meant to tell someone’s story.
Even as a student journalist, you are given the responsibility and space to share anyone’s story. Be it your favourite niche hobby, or an interesting profile. The world is your oyster—journalism is just a passport to explore diverse narratives.