tragedy

It’s like emotional whiplash: my juggle as a reporter and father during the COVID-19 pandemic

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I click the play button to log an interview I just recorded. I hear a nurse in New York describe a sight from a recent shift.

“I remember I was sitting at my desk,” she tells me, “and the body rolled by on the stretcher to go to the morgue. And I’m thinking, ‘That’s just joining all the other bodies down there.’”

As my fingers type fast to keep up, a voice in the background interrupts.

“SEE YOU SOON, HOPSIEEEEEEEEE!”

That’s my daughter. She’s two years old. She’s in her playpen, one room over from my office. And she’s putting her toy bear, Hopsie, down for a nap.

For the next few minutes, her high-pitched squeals pierce the sentences and sighs of an exhausted nurse: “They have a tent outside the hospital where they take all the dead bodies” – I LOVE YOU, HOPSIEEEEEEE! – “They don’t have enough room in the morgue” – SEE YOU SOOOOOOON! – “It’s not normal for people to be dropping like flies like that.”

It’s certainly not normal. It’s also not normal for me to process upsetting details of a pandemic – and internalize them enough to write a story – while hearing my toddler blissful in the living room. It’s not normal to keep my phone on mute during the morning editorial meetings, so I can cradle my newborn daughter – just seven weeks old – and soothe her cries long enough to pitch a story.

None of this is normal. We are all making sacrifices and adjusting our lives. Many of us know someone who’s caught COVID-19 – or, worse, lost a life from it – if we haven’t faced it ourselves. Many work in fields where they confront the pandemic first-hand every day, from the grocery store cashiers wearing masks and gloves to the nurse I interviewed, witnessing a body get rolled to the morgue.

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Mighty Ivy, Jerry & Susie, and finding three dimensions in tragedy

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“Find the emotion.”

TV reporters and photojournalists hear that refrain often. Our medium, after all, lends itself less to in-depth analysis and more to visceral video. As such, we often receive assignments that offer the greatest potential to witness raw feelings.

But rarely are we asked to push beyond those feelings.

We are told to put our most emotional moments at the front of our stories, not set them up with context. We are sent to horrific scenes and given little time, both on site and in newscasts, to get a sense beyond the basic. We are pushed to keep things moving.

So often, though, such a philosophy produces reports that only connect on a surface level – and, while powerful in the moment, are almost immediately forgotten.

I want my stories to be remembered. More importantly, I want the people in my stories – the ones who open themselves to news coverage at extremely vulnerable times – to be remembered.

This past month, I received two specific opportunities to tell such stories. I tried to produce pieces that would provide both powerful moments and the depth and poignancy to earn them.

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3 GREAT STORIES: Starring Marvin Gaye, stocks, & Roanoke

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Every week, I shine the spotlight on some of the best storytelling in the business and offer my comments. “3 Great Stories of the Week” will post every Monday at 8 AM.

How Marvin Gaye’s NFL tryout changed his career (8/21/15, ESPN.com): I cannot believe I had never heard this story.

Marvin Gaye, Motown legend and one of the great soul singers of all time, once tried out for the NFL? For the Detroit Lions?

Really???

Really. Apparently Gaye’s dalliance with pro football is a well known story of that era, but credit ESPN.com writer Justin Tinsley for re-telling it in a thorough, powerful way. It follows the artist through the torturous moments of his singing career that led him to a different avenue … albeit for a brief, one-tryout-long amount of time.

Like any great piece of this nature, Tinsley not only lands the necessary interviews but writes with both interest and compassion. He serves as a great conduit for this remarkable tale.

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PODCAST EPISODE #33: Katie Stern, photographer, KOMO-TV

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If you follow the Telling The Story podcast, you have heard several guests describe the process of covering a huge story.

But I have never interviewed a guest who had to cover such a story while dealing with the massive personal tragedy it brought.

Everyone at KOMO-TV went through it last March, when the station’s helicopter crashed in downtown Seattle, killing photographer Bill Strothman and pilot Gary Pfitzner. The journalists and employees in the KOMO newsroom suddenly needed to bring the news of a major story while processing their own emotions.

Katie Stern had worked at KOMO for nearly a decade when the crash occurred. She sprung into action and spent the morning as the roving photographer, collecting B-roll and gathering interviews around the scene; then she set up for live shots with reporter Denise Whitaker. All the while, she fought back tears and, she says, at one point could not keep a steady shot because her hands were trembling.

Stern is my guest on this episode of the Telling The Story podcast.

I received the immense privilege of listening to Stern last month when she spoke at the NPPA Northwest Storytelling Workshop. She shared the stage with Bill Strothman’s son, Dan, and the duo reflected upon the experience with composure and eloquence. Their presentation kept the audience silent and attentive; we were all confronted with the potential of finding ourselves in a similar scenario.

But regardless if any of us ever cover a personal tragedy, journalists everywhere can take major lessons from Stern on how to cover tragedies in general.

“I think that talking about trauma and journalism — and how the two are forever intertwined — is so important,” Stern said on the podcast. “Slowly we’re starting to talk about it more. I think there’s a stigma that comes with showing any kind of emotion as a journalist, and I’m really hoping we can wash that away.”

I completely agree.

I greatly appreciate Stern’s time and appearance on the Telling The Story podcast, and I hope you find her words meaningful and instructive.

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