- Scene by scene construction. Rather than rely on second-hand accounts and background information, Wolfe considers it necessary for the journalist to witness events first hand, and to recreate them for the reader.
- Dialogue. By recording dialogue as fully as possible, the journalist is not only reporting words, but defining and establishing character, as well as involving the reader.
- The third person. Instead of simply reporting the facts, the journalist has to give the reader a real feeling of the events and people involved. One technique for achieving this is to treat the protagonists like characters in a novel. What is their motivation? What are they thinking?
- Status details. Just as important as the characters and the events, are the surroundings, specifically what people surround themselves with. Wolfe describes these items as the tools for a "social autopsy", so we can see people as they see themselves.
Truman Capote, In Cold Blood[edit source]
Robert Christgau, Beth Ann and Macrobioticism[edit source]
|Title||Author||First Published||Magazine/Newspaper First Published in||Book Published in|
|Excerpt from In Cold Blood||Truman Capote||September 25, 1965||The New Yorker||In Cold Blood|
|Beth Ann and Macrobioticism||Robert Christgau||1965||New York Herald Tribune||-|
|Some Dreamers of the Golden Dream||Joan Didion||May 7, 1966||The Saturday Evening Post||Slouching Towards Bethlehem|
|‘That's What We Come to Minneapolis For,’ Stan Hough said||John Gregory Dunne||1969||-||The Studio|
|Charlie Simpson's Apocalypse||Joe Eszterhas||July 6, 1972||Rolling Stone||-|
|La Dolce Viva||Barbara Goldsmith||April 29, 1968||New York Magazine||-|
|Gear||Richard Goldstein||1969||The Village Voice||-|
|Khesanh||Michael Herr||September 1965||Esquire||-|
|Excerpt from The Armies of the Night||Norman Mailer||1968||-||The Armies of the Night|
|Excerpt from The Selling of the President 1968||Joe McGinniss||1969||-||The Selling of the President 1968|
|The Detective||James Mills||December 3, 1965||LIFE||-|
|Excerpt from Paper Lion||George Plimpton||1966||-||Paper Lion|
|Ava: Life in the Afternoon||Rex Reed||May 1967||Esquire||Do You Sleep in the Nude?|
|Timing and a Diversion: The Cocoa Game||"Adam Smith"(pen name for George Goodman)||New York World Journal Tribune||The Money Game|
|Excerpt from M||John Sack||October 1966||Esquire||M|
|Twirling at Ole Miss||Terry Southern||February 1963||Esquire||Red-Dirt Marijuana and Other Tastes|
|The Soft Psyche of Joshua Logan||Gay Talese||April 1963||Esquire||-|
|Excerpt from Hell's Angels||Hunter S. Thompson||1966||-||Hell's Angels|
|The Kentucky Derby is Decadent and Depraved||Hunter S. Thompson||June 1970||Scanlan's Monthly||-|
|The General Goes Zapping Charlie Cong||Nicholas Tomalin||June 5, 1966||The Times||-|
|Martin Luther King is Still on the Case||Garry Wills||August 1968||Esquire||-|
|The Fugitive||Tom Wolfe||1968||-||The Electric Kool-Aid Acid Test|
|Radical Chic & Mau-Mauing the Flak Catchers||Tom Wolfe||June 8, 1970||New York Magazine||-|