The art of interviewing; Playboy's pro reveals all…

Folio: The Magazine for Magazine Management, August, 1988 by Cynthia Baughman

The art of interviewing

New York City--So how do you get Jimmy Carter to admit that he "lusted in his heart"? It's not just luck, a witty exchange or clever questioning that makes a good interview; it's a judicious blend of preparedness, timing and skill that draws out a subject.

"A good interview is always half your doing," says G. Barry Olson, executive editor, Playboy, who oversees that magazine's famed montly interviews. At Face to Face, The FOLIO:Show/Spring, Golson stressed that print interviews must go for depth because electronic interviews can always beat magazines on timing. Yet, rarely, he says, do interviewers--print or television--get beyond the obvious whowhatwhen questions.

Golson, who advocates in-person meetings and no pay to subjects, offered his suggestions for interviewer-writers:

Getting the interview. Call 10 times, not two. Moreover, don't use the word interview, but ask to publish the person's views or advice. If rebuffed, say the story will be done anyway and wouldn't the subject like direct input. And don't limit calls to the subject only; talk to friends and enemies as well.

Preparing. Write out at least 100 questions covering all the bases and study them, advises Golson; Playboy's interviewer Lawrence Grobel prepared for the James Michener piece with 55 singled-spaced pages of questions. For the cutting edge, figure out a bias for each subject, something idiosyncratic waiting to be scratched.

Etiquette. Be prompt and expect to be kept waiting for Mr. or Ms. X (until he or she invites you to use a first name). Play the role of a writer: Dress casually and take notes. But notes aren't enough: Golson advocates running two tape recorders throughout the interview. And don't turn off the tape until you're back in the car: Jimmy Carter's "lusting in his heart" was revealed at the door while saying good-by.

Speaking of the door . . . never end an interview; wait to be thrown out. Remember, people talk less guardedly when they are tired. And, after an interview, no matter how close you feel to the subject, remember, you are not buddies, reminds Golson. It's over.

Questioning. Be sure to cover the basics: To remind yourself, imagine your subject will be hit by a truck two minutes after the first interview session. Also, realize that the first 20 minutes to an hour "are bull" when you'll hear the set piece. Then be ready to go with the flow if the subject becomes animated. Be open to surprises: The unexpected is the best thing that can happen because your audience won't be expecting it either. Writers should also be strong silent types: Don't talk about yourself and do use pauses--the subject will start talking. And pay attention to asides.

Another "don't": Avoid the heavy questions at first. When you get to them, try any of several approaches: "everybody does it," "some say ... not me, of course," "it is rumored that ...," "you've read that...." Also recognize that certain burning questions need to be approached in a straightforward manner. Persistence is the only characteristic great interviewers have in common. So ask a reworded question 10 times if you don't get a satisfactory answer.

Writing. "There is no such thing as a verbatim interview," says Golson. "We mess with the text, creating an artful reconstruction of conversation made with conscience, honesty and skill." Use the subject's own words, idioms and flavor. Don't improve what was said to make the subject sound smarter or funnier, but improve it so the reader can understand better. On the other hand, beware of changing the words of strong policy statements by politicians and VIPs.

In evaluating his own magazine's interview success rate, Golson says Playboy prints "one or two interviews a year that reach the pinnacle of art, six to eight that are good reads and one or two clinkers."