Avoiding PR fails: How to win friends and influence journalists

human-652827_960_720I recently sat down over an informal lunch with a large real estate group in their high-rise office.

It was an opportunity to meet some of their new team members at the start of the new year and make new contacts.

But it was also an opportunity for them to ask me questions about the how the newspaper business works and essentially explain how stories  – perhaps their own property deals – might end up in the paper I write for, the Australian Financial Review.

As we chatted over sandwiches, it occurred to me that I was answering many of the same questions I’d answered a number of times before at similar “meet the press’ type meetings and that it might be useful to others to summarise some of the things we discussed.

So here it goes, from the horse’s mouth: A journalist’s top tips for dealing with…journalists:

1. A short email or phone call is often better than sending a press release.

Every journalist is bombarded with media releases. Dozens appear in our email inboxes everyday and throughout the day. It’s impossible to carefully read every one and find the time to work on stories at the same time. A much better option is a short email outlining the story idea in a few dot points and a contact number for the journalist to ring to get more information.  If you are going to send a press release, keep it short and to the point. No journalist has the time to read an 8 page press release. Alternatively, pick up the phone and call, but not before you have read point 2 below.

2. Don’t ring a journalist when they are on deadline.

It’s incredible how many experienced PR consultants still ring journalists at my newspaper at 4 or 5 pm in the afternoon as we are frantically filing stories for the next day’s paper to pitch ideas or just to “chat”. There’s nothing more frustrating than having a conversion, even if for a few minutes about something that’s either irrelevant or can wait while you are trying to finish a story. Incredibly some people go on pitching stories even after you say you are on deadline .If you’re going to ring a journalist find out when the best time to call is. For those writing for newspapers, the morning is usually the best time to ring.  If you are going to ring on deadline, make sure it’s a REALLY, REALLY BIG story.

3. Think before you speak

Once you tell a journalist something, it cannot be untold or unremembered. (Think of us as bottomless receptacles of information rather than sieves). Before you call, think about what you are going to say and write down some key points. It’s amazing how many people ring journalists, provide all kinds of great insider information, slag off their competitors and then are amazed when these quotes appear in the newspaper the next day. The same goes for facts. If they are true and you tell us them, we will report them. (Of course journalists also love salacious people like this and…there are equally some people who love dishing it out, but just be prepared to see it in print the next day as a direct quote).

4. Exclusives are what we want

Exclusives are the life blood of journalists and newspapers. If you can offer a journalist an exclusive and it’s a worthy story, you are almost assured of getting a good run in the paper. However, there is nothing more annoying for a journalist to read the exact same story they have been pitched and are writing appear in another publication. Of course you are perfectly entitled to pitch your story at multiple publications but you should be upfront about that and let the journalist know that they don’t have the story to themselves.

5. Be patient

Even a good story may take a few days, even a few weeks to get a run. This may be because of space (in the case of a print publication) or resources (journalists are generally working on a number of stories and have to prioritize based on what their editor wants) or the type of story: for example rural stories may run on a certain day of the week.  A good story will always get a run. By all means follow-up on the story – NOT ON DEADLINE! – but don’t bombard journalists with multiple daily emails. If the story needs to run by a certain date, then let the journalist know. If they can’t meet that date, then you are perfectly entitled to take the story elsewhere, but tell them first if you want to keep a good relationship.

6. Expect journos to quote you accurately but don’t expect a certain type of story

Journalists that deliberately misquote or take remarks out of context are to be avoided. Mistakes do happen. However, good writers don’t simply regurgitate press releases verbatim. Remember we are story tellers and are writing for our readers – not for you or your clients. Often those two audiences will overlap, but not always. Sometimes a passing comment or a small point may have greater and wider resonance – in the eyes of the journalist or their editor – then the main subject of a press release or briefing. Have an open mind about what you might read in the paper or online.

7. Don’t pester a journalist’s colleagues with the same story

Most journalists work in a team, whether it’s a specific beat like politics or property or the arts. We often sit together and discuss story ideas. It’s amazing how often a PR firm will contact a journalist with a story idea that doesn’t get traction and then ring all their colleagues with the same idea. This is not a great strategy. It smacks of desperation. If you really think a journalist is missing a good story my suggestion is to ring them and ask them why they won’t cover it. If you still think it has legs tell them you will contact their editor to pitch the story or a colleague, but don’t just send it out – scatter-gun style – to all and sundry.

8. Don’t give misleading information

This may seem an obvious one, but it’s quite common for someone to embellish a story idea or even a formal press release with inaccurate information, half-truths or outdated information to generate interest. Good journalists will verify facts, but we expect to be given accurate information in the first instance especially if its in a formal media release. If you are not sure, then say so. Being deliberately misleading is the quickest way to get you on a journalist’s blacklist.

9. Share market intelligence to build rapport

A great way to build a relationship with a journalist is to share information you have about the market and what your competitors are doing “off-the record” (see point 10). This may not get your name in the paper, but will help when you pitch your own story idea. Journalists treasure market tip-offs as much as they do exclusives.

10. Understand what “off-the-record” means

A lot of people I think have misconceptions about what it means when you tell a journalist: “This is off-the-record”. This does not mean that a fact or tidbit won’t be reported. All it means that if it is reported, it will not be attributed to you. Either it will be stated as a fact or something along the lines of “market sources said” or “people close to the deal said”. One thing I would stress is be wary of sharing information off-the-record that could only conceivably come from you. (See point 3 again). That always ends badly – for you, not the journalist.

11. Don’t pick fights with journalists

Of all the idiotic things President Donald Trump has done, one of the silliest has been to pick fights with the main stream media. It’s incredible that he has gone to war with some of the most respected global publications like The New York Times, Washington Post and CNN which have huge audiences. Pick up the phone if you are unhappy with a story, don’t send a ranting email or abusive text message – we have thick skins and long memories.

How to be young and rich in Australia: be a man

How do you become young and filthy rich in Australia?

The short answer is: be a man.

Yes, be a tech whizz, a property tycoon, a retail visionary, a sports star, but most importantly, to steal a line from Canadian stand-up comedian Russell Peters, BE A MAN!

How do I know? The latest BRW Young Rich 2015, a compilation of the 100 richest Australians under 40, which came out in October, had just eight woman on it.

The all-male Top 10

2015-brw-young-rich1Source: BRW.com.au

Of those woman on the list, just four – singer Sia Furler, founder of financial counselling service My Budget, Tammy May, super model Miranda Kerr and golfing star Karrie Webb – have made their fortune entirely on their own.

The other women on the list have made their fortunes in partnerships with men: Erica Baxter through her marriage to billionaire James Packer, Erin Deering, through online bikini company Triangl founded with her husband Craig Ellis; Melanie Perkins, who set up online graphics software company Canva with Cliff Obrecht, and Michelle Strode, who co-founded technology company Invoice2go with her husband Chris.

So, making it on your own as a woman is even tougher. Having a bloke by your side helps.

I remarked about the lack of woman on the BRW list to a number of people and got pretty much the stock standard answer: woman don’t become ultra-wealthy because they are off having babies etc etc.

The truth is for all the talk in Australia about gender equality in the work place; not penalising women who want a career AND a family; lifting the proportion of women in senior position; and equal pay for men and women who do the same jobs – we still live in a very unequal business environment, where men earn the big dollars and women are expected to give it all up when they have children.

There are of course exceptions, the likes of former Westpac boss Gail Kelly, Mirvac CEO Susan Lloyd Hurwitz, and in government, deputy prime minister Julie Bishop.

But, mostly there remains the old-world misogynist view of women not rising too high in society, displayed most strikingly and distastefully in the 1423545120130attacks on Australia’s first female prime minister, Julia Gillard called a ‘bitch’, and  ‘witch’ by mostly middle-aged men in politics and the mainstream media. Julia Gillard was also judged by society – both men and women – for not having children, as if that was some kind of heinous crime, not merely a valid life choice for any woman.

This unequal belief system – that men should be the big earners, the stereotypical ‘providers’ – extends into all realms of Australian working life: I was flabbergasted to read recently that the basic contract for an Australian woman representing the national soccer team, the Matildas, is just $21,000 a year, two-thirds of the minimum wage.

This is a team, ranked 9th in the world, who beat Brazil at the World Cup this year and reached the knockout stages.

By contrast, regular members of the mens soccer team, the Socceroos, have each earn more than $200,000 so far this year, despite losing every game at the last World Cup and being ranked a lowly 65th in the world.

It’s does not surprise me at all that the Matildas have gone on strike, demanding fairer pay.

In the property industry, the sector I cover as a journalist, gender is a big, emotive issue.

Property has traditionally been a very blokey, boy’s club industry, though it’s true that efforts are being made to encourage more women into the industry, and also that there have been some notable successes in this endevour.

But still, the property industry remains dominated by outrageously wealthy men as can be seen by the number of young male property tycoons on the BRW Young Rich List  (I counted five) and the complete absence of any women property tycoons.

Supermodel Miranda Kerr

Supermodel Miranda Kerr

The other point about the type of women who make it onto the BRW Young Rich List needs to be made delicately.

In short, looks definitely matter.

This to me, only reinforces the “Crocodile Dundee” image of Australia as the land of “Bruces” and “Sheilas”, that was circulated around the world in the 1980s and later reinforced by cringeworthy iconic Australians like the late animal entertainer Steve Irwin famous for jumping on to the backs of wild animals in true Aussie macho style

While it is true that there is much that is progressive, modern fresh and exciting about Australia, it still retains a distinct air of male chauvinism and a strong underlying current of conservatism (gay marriage is another area of distinct inequality).

Real wealth and power in this country, remains in the hands of blokes, now, and, given the make-up of latest BRW Young Rich List with its tiny female representation, will remain in their hands in the future too.

How to survive a horror movie marathon this Halloween

Halloween-Pumpkin-BG-1

“There are certain rules that one must abide by in order to successfully survive a horror movie” – so says Randy, the geeky virgin played by Jamie Kennedy in the original Scream movie.

But can you survive a Drew Barrymore movie?

Randy’s rules are a) you never have sex b) you never drink or do drugs and c) you never say “I’ll be right back” – because you won’t!

Sound advice, although doesn’t Randy end up dead too at some point? Perhaps its in one of the rubbishy sequels. I can’t remember.

Never mind. Halloween is coming up soon (October 31) which means it’s the perfect time to re-acquaint myself with Scream and other horror classics, both good and bad.

lost_boys_ver2_xlgI should warn you. I am a terrible horror movie watcher, always in a state of perpetual terror, heart racing. Once in the cinema, when I was a teenager, I threw my popcorn straight up in the air when a vampire awoke in The Lost Boys (Kiefer Sutherland with fangs) and did the same, unfortunately with a glass of red wine this time (on someone else’s couch) when one of the masked intruders in the very creepy (and underrated) The Strangers made a sudden appearance.

2008-The-Strangers-Screenshot-1

I have also been known to bury my head behind a pillow, hide behind the couch, hide behind the curtains, block my ears and close my eyes – much to the amusement, but also annoyance of my fellow film watchers.

But if you had to ask me what I would need to survive a movie marathon of my favourite horror movies, these are things I’d pack in my man crate*:

gloves

Extra thick gloves so I don’t get touched up by evil psychiatrist Dr Hannibal Lector, and night vision goggles for later so I can shoot transvestite serial killer Buffalo bill squarely between the eyeballs before he gets me in the dark basement of his creepy old house (For The Silence of the Lambs).

earthmate-pn-40-handheld-gps-device
A good local map or perhaps a decent GPS device so I don’t get lost while inexplicably taking a walk on a moonlit night in the barren Yorkshire Moors, plus a little note-book to write down handy hints like “Stay on the road. Keep clear of the moors” and “Beware the moon, lads”. Also, a gun loaded with silver bullets in case a deranged hairy monster leaps out at me (For An American Werewolf in London).

I’d need a beach bag, with towel, but no bathing suit so I would have a damn good excuse for not getting into the water and a scary book about sharks to convince me I really don’t need to go in for a swim in my undies. (For Jaws, the original, where the shark actually looked real).

For later in the evening, three books, “A guide to old Manhattan apartment and their ghoulish histories“, “How to know if your partner is a Satanist” (pocket size) and “New York’s most reputable obstetricians: the Definitive List“. (For Rosemary’s Baby)

61QuGlo9kZL._SY355_

A few more odds and ends: Extra strong coffee so I don’t fall asleep while having a bath (A Nightmare on Elm Street) and my anti-psychotic medication to keep the subway demons at bay (Jacob’s Ladder)

And of course, a decent recipe for pea soup! (The Exorcist).

GreenGarlicSoup

*I was invited to write this post for mancrates.com, an American gift company that makes up collections of nostalgic gifts and then ships them out in actual wooden crates, complete with an Indiana Jones, Raiders of the Lost Ark-style crowbar, to open them.

I haven’t been paid to write it, nor did I get a free man crate (I did ask) but I loved the concept when I checked out their website. Pity they don’t ship to Australia.

I especially liked the crate filled with exotic meats crate (including biltong), the coffee crate with genuine NATO ammo case and one I am sure would be sought after by many blokes, the retro gamer man crate.

Freshlyworded online bites: Five hand-picked yarns to enjoy this week

media bitesJanuary 15 edition (inaugural edition)

The internet is a vast, limitless place and very distracting.The worst thing you can do is waste your time reading drivel like this or this

Every week freshlyworded.com scours the internet for five worthy reads and shares them with you, completely free of charge.

The only criteria are that they be interesting/startling/enlightening (or preferably all three), that I have read them myself, that they are not behind a pay wall and that they can be enjoyed in the time it takes to drink a good cappuccino (sometimes quite slowly).

This week’s five are:

1. A Craigslist ‘Missed Connection’ Lure (New York Times)
“It all felt so sweet, strange and surreal. And impossibly romantic.”

– Finding ‘true love’ on Craiglist isn’t as easy as you think by Rosemary Counter (@RosemaryCounter).

2. Reconciling faith with political power (The Age)
“Others, including myself, are puzzled that the most Catholic Coalition Cabinet in Australia’s history can be so cruel in slashing our aid program – the lowest  in our history.”

– Being Christian at home does not mean being kind in public office writes Tim Costello. (@TimCostello)

3. Laughing at the Establishment in Thailand ( Time Magazine)
“The Bangkok Post dubbed Winyu Wongsurawat’s frenetic style ‘Jon Stewart on crack,'”.

– How a satirist is taking on Thailand’s military junta via a hugely popular YouTube show by Charlie Campbell. (@CharlieCamp6ell)

4. Selma’ Distorts History by Airbrushing Out Jewish Contributions to Civil Rights (The Jewish Daily Forward)
“The black-Jewish relationship is complex, with many changes over time, but the historical record is clear.”

– A new film about the 1965 Civil Rights processes omits the role played by Jewish leaders writes Leida Snow. (@LeidaSnow)

5. RJ Mitte: ‘Nothing I do will ever compare with Breaking Bad’ (The Guardian)
“When Mitte read the character summary for Walt Jr seven years ago, it came as a welcome shock. “The breakdown pretty much described me,” he says, still slightly amazed by his luck. “Dark hair, big eyebrows, cerebral palsy … I was like, ‘I have this covered.’”.

– RJ Mitte, the actor who played Walt Jr in Breaking Bad talks about his acting and how he overcame his disability by Homa Khaleeli. (@homakhaleeli)

If you have a worthy yarn, send a link to freshlyworded@gmail.com and I will review for possible inclusion.

Writing well: 10 useful tips for feature writing from the pages of the Wall Street Journal

art and craft ofA couple of months ago, a colleague, pressing me to get started on a feature for the Australian Financial Review, the newspaper I write for, suggested:

“Have a big glass of red wine and then just start writing.”

I should put some context around this. I don’t drink wine at work as a rule. I was going to function, where wine would be served. Then I would come back to the office.

My colleague’s rationale: it would free up my creativity.

I took his advice, and the end result was good, but the story certainly did not flow out of me like….fine red wine (perhaps the quality of wine ingested matters!)

Feature writing is challenging. There are many different things to pull together – people, events, themes, counter-arguments – and to do so well is as much technique as it is flair, talent or creativity.

My technique, until recently, was a stop-start approach of firstly trying to come up with the lead (the opening paragraphs) which usually involved numerous attempts, re-writes, teeth grinding, coffee break, chat with colleagues etc before finally making a start. Then I’ll write to the length required and then arduously work back, trying to create some kind of flow and rhythm and to give a point to it all.

But there are better, more structured ways to go about writing features (not that writing should be easy, good writing requires effort, sweat and toil).

I recently came across a useful book recommended to me by Michelle Griffin a very experienced journalist at The Age, who has also been my mentor the past 8 months.

She suggested I read: “The Wall Street Journal Guide to The Art and Craft of Feature Writing” by William E. Blundell, himself a journalist with the esteemed newspaper

It’s an old book, first printed in 1988, but you can get a newish reprint online. I bought a copy from the Book Depository and read it cover to cover, slowly, underlining parts on the way into work, trying to ingest some of Blundell’s tips, tools and techniques for telling better stories; after all isn’t that what feature writing really is?

As Blundell puts it: “We can learn a great deal from fiction and this book makes at least a modest start to connecting some techniques of fiction to the work we do.

The book is helpful on many levels, for example the opening chapters are about generating ideas and coming up with the raw materials for a good feature and I suggest reading it cover to cover.

What I found most useful where the practical tips for the writing process itself. These are 10 to keep in mind:

1. Write out your main theme statement

In a couple of simple, tightly written sentences express the story: its main developments, likely effects and reactions to them.

If writing a profile, the theme statement  should be the facets of the person, company or organisation you plans to focus on.

“Tack this main theme statement up where  you can see it. Let it guide your work. Let it reproach you, question you, when you stray too far,” Blundell writes, adding; “I consider the main theme statement the single most important bit of writing I do on any story.”

2. Have a plan

“The only important thing is that you have a plan, however loose and informal and use it to good effect”, says Blundell. Good writers, plan before they report and again before they write.

3. Readers love action

“The story that does not move, that just sits there stalled while people declaim, explain, elaborate and suck their thumbs is justly labeled by some editors as a MEGO – “My Eyes Glaze Over”,” writes Blundell.”The most desirable kind of movement is the unfurling of natural story progression.” To do this stories must shift the reader’s attention from “the abstract to the concrete, from the general to the particular, from the mural to the minature.”

Feature writers are storytellers. “We are in the drama business,” Blundell declares.

4. People with direct experience are better than ‘experts’

I think this is particularly useful as many journalists quote too easily from “certified somebodies” rather than “little people with direct experience”.

I heavily circled this paragraph: “The story is happening on streets where there are no PR men strewing palms in the reporter’s path, no computers disgorging blocks of seductive statistics and a lot of people who have nothing to gain from doing pirouettes for the press…we have to gather details and direct experiences that show the reader what we are talking about, that convince him of the truth of the sweeping assertions made by us and our desk people. Most of all we go there to convince ourselves.”

5. Skim read through all your material beforehand

Often, I don’t do this. I go back and forth looking for what to include in various documents. It’s an exhausting process and sucks up vast amounts of time.

Blundell’s advice: Skim through all interviews and documents. Read rapidly, not for mastery of detail, but for the sense of things. Put aside material that is irrelevant or weakly repetitive.

This will help refine and define your main theme statement and story plan.Blundell also suggests creating an indexing system where you group things in a logical manner. This may be vital for very long stories, but I find it overly complex. A couple of theme sub-heading and a few notes about what to include under each theme should do the job on shortish features.

6. Keep digressions short, return quickly to the action

Anything that is not action is digression: observations, quotes, explanations and descriptions. Blundell’s advice: Keep it short and sharp, or as he says it: “Hustle the reader over the lakes as rapidly as you can to get his vessel back into white water – story action.”

7. The lead is key, but can be left till later

The lead is what draws a reader in, gets him to make an investment of his time in your story right away. Blundell says a good lead intrigues, teases, gives you a reason for reading on. Many of the best leads he says have one quality: mystery.

The book is full of numerous examples of good and bad writing. I’ll just transpose one example he gives of a good lead:

“Crowded with 346 passengers and crew members, the Turkish Airlines DC-10 rose smoothly from Orly Airport in Paris bound for London. Terror came at 12,000 feet.”

Mystery is good, but not confusion or riddles. If mystery does not work for your story focus on urgency or telling the reader that something compelling is happening.

An anecdote or quote is a popular way to start a feature, but Blundell says it should be simple to understand and have relevance for the main theme of the story.

Often, the lead can be a retooling of the main theme statement, especially if you are struggling to come up with one.

However, don’t spend hours at the beginning of the writing process coming up with the lead, unless one comes naturally to mind. Write the main body of the story and come back to it later.

8. Don’t overuse numbers and statistics

Blundell’s advice – don’t overload readers with too many numbers.  Also, he says express them in their most simplest form, rounded-off, expressed pictorially (something “doubled” or “trebled”) or as ratios. Very large (or very small) numbers are better expressed in a way that can be visualised. E.g. “It was three times the size of New York City’s Central Park”

9. Choose your quotes carefully and sparingly

Too many people quoted in a story, not saying anything that is particularly interesting will drown out those who do have something worthwhile to say.

Blundell advises avoiding quotes that state the obvious (the writer should be brave enough to state these points themselves). He says good writers are merciless about who they include and exclude. A good quote should have: credibility, draw an emotional response, be trenchant (sharp, incisive, authentic) and add variety to your story.

10. Endings are important

Blundell suggests that good endings drive home the established theme and help readers remember all they have been told. He says there are three that seem to work well:

– Circling back: reminding the reader of the central message through “symbols, emotional responses, observations, even snippets of poetry”. It should be full of echoes and overtones of the body of the story.

– Looking ahead: “What might be useless speculation clogging up the middle of a piece can become evocative material at its end,” Blundell says.

-Spreading out: You end by giving the reader something new to think about. The ending makes the story bigger than it was before, something worth remembering.

These are just some of the tips I picked up from the book and have found useful.

Of course none of this matters if your idea is weak, ill-conceived, poorly researched, of little gravitas or just plain boring.

Every great story begins with a great idea.

Happy writing, storytellers.

Serial killers: a reading list for the obssessed (or uninitiated)

jack the ripperIn 1997, I went on the famous Jack the Ripper walk through the East End of London, visiting all the spots where he had committed his grizzly Victorian-era murders. The tour ended at the Ten Bells pub in Whitechapel, where two of  ‘Jack’s’ victims – prostitutes Annie Chapman and Mary Kelly – were said to have regularly frequented.

Our guide on the night was Donald Rumbelow, one of dozens of writers who had theorised about who Jack the Ripper might have been. I remember I bought a copy of his book after the tour and devoured it in a hurry.

At the time and throughout my twenties, I had perhaps an unhealthy interest in these evil monsters, reading book after a book, utterly fascinated and repelled in equal measure.

I had and still do have a fascination with the darker side of human nature, particularly when the crimes are committed by seemingly ‘ordinary people’.  But doesn’t everyone?

Recently, it was revealed that testing of DNA on a shawl that belonged to one of the Ripper’s victims – Catherine Eddowes – was a 100 per cent match for the sister of a Polish-born hairdresser called Aaron Kosminski, a suspect in almost any reputable book about the crimes. This, it seems has dealt a body blow to 120 plus years of speculation and intrigue and an industry of ‘Ripperologists‘ comprising amateur sleuths and published writers.

zodiacThis re-ignited my interest in the subject of serial killers, which had already been stirred by a book I came across in Big W of all places.

I was intrigued by the cover and its title: “The Most Dangerous Animal of All – Searching for my father…and finding the Zodiac Killer.” by Gary L. Stewart.

I have not read it yet – I am still making my way through, of all things a comic novel by Howard Jacobson called “The Making of Henry  – but it’s next on my reading list.

On the back cover it says tantalizingly:

An explosive, revelatory memoir of a man who discovers that his father is one of the most infamous and still-wanted serial killers in America.

Like Jack the Ripper, the Zodiac Killer – who murdered seven or more people in Northern California in the late 1960s and early 1970s – was never caught. In another similarity, the Zodiac Killer also sent cryptic notes to the police, one in which he stated that man “is the most dangerous animal of all”.

There were numerous books written about the Zodiac killer and a very good 2007 film called “Zodiac” directed by David Fincher and starring Jake Gyllenhaal,  Robert Downey Jr and Mark Ruffalo.

If this Zodiac book is as convincing as the back cover claims, than that would be two famous serial killer mysteries solved. Never mind, countless others remain as does the question: who or what makes these monsters?

Here’s my list of six of the best books I’ve read about serial killers:

1. Written in Blood by Colin Wilson
This is actually a book about forensic science, but within its dense pages are countless tales of serial killers including Bela Kiss, Peter Sutcliffe (the Yorkshire Ripper) and Albert Fish to name just three plus insights into their psychological make-up and motives. Wilson, a prolific writer on crime, the occult, philosophy and countless other topics sadly passed away last year.  “Will enthrall connoisseurs of violent crime”- is on the cover of my well-thumbed paperback edition.

2. The Stranger Beside Me by Ann Rule
The most chilling and fascinating book every written about a serial killer. Ann Rule was a friend of  the charming, well educated and good looking Ted Bundy, only later to discover to her huge shock and revulsion that he was a vicious serial killer.

3.  Ten Rillington Place by Ludovic Kennedy
The story about one of the most infamous murderers in British history, John Christie, and the wrongful arrest and execution of his neighbour Timothy Evans. Made into a brilliant, hugely disturbing film starring the late Richard Attenborough as John Christie in 1971.

A poster for the movie "Ten Rillington Place" starring Richard Attenborough

A poster for the movie “Ten Rillington Place” starring Richard Attenborough

4. Killing for Company by Brian Masters
Noted crime writer Brian Masters tell the story of Londoner Dennis Nilsen, who brutally murdered 15 men in the late 1970s and early 1980s, kept them as companions and then later buried them under his floor or dismembered them and flushed them down the plumbing. What haunted me was that he had lived close to a cousin of mine in Muswell Hill, North London.

5. Lust Killer by Ann Rule
The story of Jerry Brudos, a married man with children in Portland, Oregon, who kidnapped, murdered and violated women in the workshop of his family home in 1968 and 1969. His wife had no clue.

death in belmont6. A Death in Belmont by Sebastian Junger
Written by the author of “The Perfect Storm” it tells the story of Albert DeSalvo who by an incredible coincidence worked on a construction job in Junger’s family home in the early 1960s and who later confessed to being the “The Boston Strangler”. Junger theorises that DeSalvo was also the murderer of an elderly woman in the neighbourhood, not a black man called Roy Smith, who was jailed for life for the crime. Deeply disturbing, the book has on its front cover a photo of DeSalvo posing in a family photo with the author as an infant.

Five Woody Allen movies infinitely better than Blue Jasmine

woody_allen__1218229285_1191I’ll be honest. I was a little bit disappointed with Blue Jasmine.

It certainly wasn’t a Woody Allen clunker like Celebrity or Curse of the Jade Scorpion or Small Time Crooks, but it wasn’t up their with his best work. It was better than his middle-of-the-road stuff, and neatly reflected in the IMDB  score of 7.4 out 10.

Blue JasmineThe acting was excellent, particularly Cate Blanchette as Jasmine – the neurotic, snobby and materialistic New York socialite brought down to earth by the scandal of her New York husband’s Hal’s  (Alec Baldwin) Bernie Madoff-like fraud, who flees to San Francisco to start her life over. There are also excellent performances by Sally Hawkins (who plays her sister Ginger) Andrew Dice Clay (Ginger’s ex-husband) and Bobby Cannavale (Ginger’s cocky love-struck boyfriend).

For me, the film started incredibly strongly and then just lost momentum two-thirds of the way through with an obscure, annoying ending (I won’t spoil it for those who have not seen it). It felt like Woody Allen wrote the film mainly to win an Oscar for Cate Blanchette – roles involving dysfunctional, intense female characters having a history of Oscar success, consider: Angelina Jolie in Girl Interrupted, Jennifer Lawrence in Silver Linings Playbook, Natalie Portman in Black Swan to name just three (all far better films than Blue Jasmine).

Blue Jasmine is worth watching for the acting and some excellent scenes, but if you want to watch classic Woody Allen at his best, there are more than a dozen films that are better from his vast oeuvre going back five decades.

For Woody Allen novices, these are five of my favourites, all absolute classics:

Crimes and Misdemeanours (1980)

Woody Allen’s greatest cinematic achievement. Interweaves multiple plotlines in a film about the nature of comedy, guilt, forgiveness, betrayal and love. Incredible performances from Martin Landau, Angelica Huston, Alan Alda, Sam Waterston, Mia Farrow and Jerry Orbach. Some of his funniest jokes, some of his most poignant moments in film. IMDB rating 8.0

Judah Rosenthal: I remember my father telling me, “The eyes of God are on us always.” The eyes of God. What a phrase to a young boy. What were God’s eyes like? Unimaginably penetrating, intense eyes, I assumed. And I wonder if it was just a coincidence I made my specialty ophthalmology.

Annie Hall (1977)

A romantic comedy about Alvy Singer (Woody Allen), a neurotic, over-sexed comedian who falls for the utterly charming but ditzy Annie Hall (Diane Keaton) filled with Jewish New York humour, witty observations about sex, love, family and relationships. IMDB rating – 8.2

Annie Hall: Sometimes I ask myself how I’d stand up under torture.
Alvy Singer: You? You kiddin’? If the Gestapo would take away your Bloomingdale’s charge card, you’d tell ’em everything.

Manhattan (1979)

Shot beautifully in black and white to the music of George Gershwin, this is Woody Allen’s homage to his favourite city, New York. It stars Allen as Isaac Davis, a divorced writer of TV shows caught in a dubious love affair with teenage Tracy, (a very young Mariel Hemingway), but who falls in love with his best friend’s mistress (Diane Keaton). IMDB rating 8.0

Isaac Davis: My analyst warned me, but you were so beautiful I got another analyst.

Match point (2005)

Set in London high society, a tennis professional (Jonathan Rhys Myers) engages in a steamy affair with visiting American Nola Rice (Scarlett Johansson) while engaged to Chloe (Emily Mortimor) the innocent daughter of a wealthy family. A film that examines the nature of good and evil, temptation and fidelity and injustice. IMDB rating 7.7

Christopher “Chris” Wilton: It would be fitting if I were apprehended… and punished. At least there would be some small sign of justice – some small measure of hope for the possibility of meaning.

Play it Again Sam (1972)

A screwball, slapstick comedy set in San Francisco about Allan (Woody Allen) a neurotic film critic who takes dating advice from his alter ego (Humphrey Bogart as Rick from Casablanca) and best friend Dick. Predictably he falls in love with Dick’s wife (Diane Keaton).

Allan: If that plane leaves the ground, and you’re not on it with him, you’ll regret it – maybe not today, maybe not tomorrow, but soon, and for the rest of your life.
Linda: That’s beautiful!
Allan: It’s from Casablanca; I waited my whole life to say it.

And here’s a whole bunch more to add to your “Must watch” list:

Love and Death (1975)
Deconstructing Harry (1997)
The Purple Rose of Cairo (1987)
Broadway Danny Rose (1984)
Husbands and Wives (1992)
Might Aphrodite (1995)
Hannah and her Sisters (1986)
Interiors (1978)
Midnight in Paris (2011)