What do you do when the one person you need to talk to for a piece doesn't feel like being chatty? What's the difference between a writer being friendly and persuasive vs. being obnoxious? I asked my reporter source, Tom Zoellner, mb instructor and author of the forthcoming book The Heartless Stone, on what he teaches his students. He shared some advice with me.

Build confidence in your sources by learning as much as you can about them and their organization before the interview.

Always try to meet confidential sources in a place far away from their office. Coffee shops work very well, because they're bright, cheerful and anonymous. If the source is really paranoid, a parking garage is not a bad option either -- clichés nonwithstanding.

Make the inside source confident that their anonymity will be protected. It helps if you can show you've done these kinds of stories before.

Looking for sources within an unhappy organization? Warning: Try this trick ONLY if your hand has already been tipped, i.e., the management knows you're doing the story, because what you do here is guaranteed to get back to them. If you can get hold of one person's phone number within the organization -- say it's 867-5309 - try dialing the numbers up and down from it - i.e., 867-5310 and 867-5308 - to reach some random colleagues. When they answer, introduce yourself in your friendliest voice and say: "Just hear me out on this before we hang up. I'd really like to talk to you about XYZ and you can stay completely anonymous. Even a point in the right direction would be a huge help....etc." The longer you keep them on the phone, the more comfortable you'll make them feel.

A more discreet way to do this, (but one that will still probably tip your hand to management, and it's more time-consuming, too) is to find the after-work bar where some of the staff goes for happy hour. You can find this bar by canvassing nearby establishments and asking the bartenders, "Hey, any people from the Acme Company ever come here after work?" Become a semi-regular and start saddling up to strangers. Keep the drinks coming to them once they start talking. In Vino Veritas.

Try to obtain a company phone directory from a source within. This will not only give you work numbers, it's a handy list of titles, and occasionally some home numbers.

Gentle appeals to make to reluctant sources are: 1) The public's right to know, 2) the subject's desire to expose wrongdoing in their own organization, 3) The subject's desire to embarrass somebody (although you should NEVER say this is what you yourself are out to do - this could get you in serious trouble. See the Ethics and Legalities tipsheet for more information). 4) The subject's desire to see the story told right. Say something like, "I really need you to help me get the truth out." 5) If you feel brave, try quoting the British statesman Edmund Burke: "The only thing necessary for evil to prosper is for good men to do nothing."

If the reluctant source happens to be a subject of the story, emphasize that you are interested in giving them a fair shake. Mean it.

You could also say something like, "Your side of this is important. Don't you want your point of view represented in this account?"

Act surprised he doesn't want to talk. Let your tone of voice tell him this is very strange behavior. "Are you really sure you want this story to run without putting in your two cents?"

When seeking a final interview with the subject of an unflattering story, make it clear that their non-participation or a "no comment" will not stop you from doing the story. Always proceed with the assumption that the story is going to run.

Is he still dodging you? Try showing up on his home doorstep in the evening. Or call his office from a nearby pay phone and ask for him without identifying yourself. Once you've established that he's in, head up to his office. Or wait outside the building. Approach with friendliness, but determination.

Meanwhile, know how you can make your source more comfortable about talking without inadvertently promising them you won't actually use anything they said. Somebody's great quote is no good if you promised them you won't publish it.

Know the terminology of interviewing

• "Off the Record" means you can try to independently confirm what she told you, but her name can never be attached to it, in print or out.

• "Background" means she can be quoted anonymously as "a senior official in the organization," or "a person familiar with the document." Publications have differing standards on these kinds of quotes. Check with your editor.

• "On the Record" means she can be quoted by name.

Be judicious about offering anonymity. Don't be too quick to offer it. Names lend priceless credibility to your story. Plus, people are more likely to mislead you if they can snipe from behind a curtain. You will be surprised at how many people will agree to go on the record if you apply gentle pressure.

Try to avoid the awkwardness of shifting back and forth from "off the record" to "on" and back again. Your source will go wild with this if you're too easy. Ask, "Now, why can't this be on the record? Is there something to be afraid of here?"

Use silence to your advantage. All but the coolest subjects are going to feel the need to fill dead air with talk.

If the source is describing a complex chain of events or structure, draw a diagram in your notebook and show it to him. "Is this correct?"

Couch criticism in a depersonalized statement. "What would you say to critics who claimed you were trying to buy these drilling rights through campaign contributions?" "Can you answer this thought that some readers are going to have?" "Now I wouldn't be doing my job if I didn't ask you about..."

Float a guess and let yourself be corrected. "Now I understand you're going to give a total of $40,000 to both sides in the Texas senate race." The subject is going to feel a powerful urge to give you the right number.

Don't lose sight of the three key questions. Skilled interviewees may try to divert your attention with irrelevant anecdotes, vague answers, answering questions you didn't ask.

Don't move through a scripted list of questions. Instead, write down at least three questions you need answered, and let the interview flow as a conversation. Don't hang up or leave the room, though, without hitting your key points. Refer to them only at the end of the interview, so you can, Colombo-like, say, "Oh, just one more thing..."

Save your toughest questions for near the end. This way, you've got most of it already down if you get thrown out.

Always try to end interviews with two questions: "Who else should I talk to about this?" and "Is there something we didn't cover that you think is important here?" This last question can elicit some surprising answers and helps soften your exit, especially since you've just threw your hardest balls immediately prior.