Airframe by Michael Crichton

Author:Michael Crichton [Crichton, Michael]
Language: eng
Format: epub, mobi, azw3, pdf
Tags: Fiction, Thrillers, Psychological, Action & Adventure
ISBN: 0375412212
Google: Uc7s0hlKheMC
Amazon: B000FC1GHO
Publisher: Random House
Published: 2001-01-18T06:00:00+00:00

She picked up the phone and called Barker back. “Will you talk about these incidents on camera?”

“I’ve testified in court about this on numerous occasions,” Barker said. “I’ll be happy to speak to you on the record. The fact is, I want this airplane fixed before more people die. And nobody has been willing to do it—not the company, and not the FAA. It’s a disgrace.”

“But how can you be so sure this flight was a slats accident?”

“I have a source inside Norton,” Barker said. “A disgruntled employee who is tired of all the lying. My source tells me it is slats, and the company is covering up.”

Jennifer got off the phone with Barker, and pushed the intercom button. “Deborah!” she screamed. “Get me Travel!”

Jennifer closed the door to her office, and sat quietly. She knew she had a story.

A fabulous story.

The question now was: What’s the angle? How do you frame it?

On a show like Newsline, the frame was all-important. Older producers on the show talked about “context,” which to them meant putting the story in a larger setting. Indicating what the story meant, by reporting what had happened before, or reporting similar things that had occurred. The older guys thought context so important, they seemed to regard it as a kind of moral or ethical obligation.

Jennifer disagreed. Because when you cut out all the sanctimonious bullshit, context was just spin, a way of pumping the story—and not a very useful way, because context meant referring to the past.

Jennifer had no interest in the past; she was one of the new generation that understood that gripping television was now, events happening now, a flow of images in a perpetual unending electronic present. Context by its very nature required something more than now, and her interest did not go beyond now. Nor, she thought, did anyone else’s. The past was dead and gone. Who cared what you ate yesterday? What you did yesterday? What was immediate and compelling was now.

And television at its best was now.

So a good frame had nothing to do with the past. Fred Barker’s damning list of prior incidents was actually a problem, because it drew attention to the fading, boring past. She’d have to find a way around it—give it a mention and go on.

What she was looking for was a way to shape the story so that it unfolded now, in a pattern that the viewer could follow. The best frames engaged the viewer by presenting the story as conflict between good and bad, a morality story. Because the audience got that. If you framed a story that way, you got instant acceptance. You were speaking their language.

But because the story also had to unfold quickly, this morality tale had to hang from a series of hooks that did not need to be explained. Things the audience already knew to be true. They already knew big corporations were corrupt, their leaders greedy sexist pigs. You didn’t have to prove that; you just had to mention it.

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