feature writing essay example

Feature Writing

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“ Feature Writing is a creative form of journalism that focuses on engaging storytelling, providing relevant information, and offering a unique perspective to captivate readers. It involves crafting compelling narratives with clarity, coherence, and a strong narrative structure, while tailoring content to the target audience’s interests and preferences.”

What is Feature Writing?

Feature writing is a form of journalistic writing that focuses on specific events, issues, or people, providing more depth and detail than standard news reports. Unlike hard news stories, which primarily deal with the facts of who, what, when, and where, feature articles explore the how and why. They offer readers insight into the context and background of a subject, often emphasizing a narrative style. Feature articles are commonly found in magazines, newspapers, and online platforms, where there’s more space for exploration and stylistic flair.

Characteristics of Feature Writing

Feature articles are distinguished by several key characteristics:

In-depth Exploration : Feature articles provide a deeper understanding of the topic, whether it’s a person, place, event, or issue. They go beyond mere facts to include the background, context, and in-depth details that paint a fuller picture.
Narrative Style : Features often employ storytelling techniques, such as narratives and scenes, making them more engaging and relatable. They might follow a structured plot with a clear beginning, middle, and end, drawing the reader into the story.
Emotional Engagement : These pieces frequently aim to evoke emotions, connecting the audience with the subject matter on a personal level. Whether it’s excitement, sympathy, or curiosity, the emotional pull is a crucial element.
Subject Variety : The topics can range widely, from profiles of influential people, in-depth analysis of a social trend, descriptive accounts of events, or explorative pieces on cultural phenomena.
Attention to Detail : Feature writers pay close attention to details, often using descriptive language that helps the reader visualize the setting and understand the characters involved in the story.

Different Types of Feature Writing

Feature writing encompasses various styles and forms, each tailored to deliver content in a unique and engaging manner. Here’s an overview of some common types of feature writing that cater to diverse reader interests and preferences:

1.Profile Features

Profile features are intimate portraits of individuals, providing insight into their lives, careers, and personalities. These features often include interviews and observations and aim to reveal the character’s impact, motivations, and personal stories.
Examples : A day in the life of a renowned chef. Profile of an up-and-coming athlete.

2.Human Interest Features

Human interest stories focus on the emotional or sentimental side of events or individuals, aiming to connect with the reader on a personal level. These stories often highlight personal achievements, struggles, or unusual experiences.
Examples : The journey of someone who has overcome a significant challenge, such as a major illness or adversity. The impact of a community project on the lives of local residents.

3.News Features

News features provide background and context to current news stories, offering deeper insights than standard news reports. They delve into the “how” and “why,” giving readers a broader understanding of the significance and implications of the news.
Examples : The effects of a new government policy on small businesses. Behind-the-scenes look at a major international summit.

4.Instructional Features

Instructional features aim to educate and inform by providing step-by-step guidance on various processes or activities. These articles are practical and direct, helping readers understand complex tasks or learn new skills.
Examples : How to start a vegetable garden in your backyard. Tips and tricks for mastering digital photography.

5.Historical Features

These features explore significant events from the past, offering insights into their impact on the present. They draw connections between past and current events, providing a historical perspective that enriches understanding.
Examples : The evolution of civil rights in America. A retrospective on the technology boom of the late 20th century.

6.Seasonal Features

Seasonal features are timely pieces that relate to events, holidays, or phenomena specific to a particular time of year. They are relevant and engaging due to their immediate connection to the season or occasion.
Best summer festivals in the United States. Winter holiday traditions around the world.

7.Behind-the-Scenes Features

These articles provide a glimpse into places, processes, or events that the average person might not have access to, offering a backstage view of different worlds.
Examples : Inside a top Michelin-starred restaurant’s kitchen. The preparation and execution of a major fashion show.

What is the Difference Between a News Story and a Feature Story?

Feature writing in journalism.

Feature writing in journalism occupies a unique space that combines in-depth reporting with creative storytelling. It serves to illuminate the broader contexts, delve into personal stories, and examine the implications of events and trends. Unlike hard news, which delivers the immediate facts of an event or issue, feature writing explores themes and ideas at a deeper level, engaging the reader with a mix of factual reporting and narrative techniques.

The Role of Feature Writing

Feature writing enhances journalistic endeavors by providing:

Depth and Context : Features dig deeper than the basic facts, offering readers a comprehensive view of the topic.
Human Element : By focusing on personal stories and experiences, features highlight the human impact of broader events and issues.
Engagement and Retention : The narrative style of features draws readers in and keeps them engaged, increasing reader retention and involvement.

Challenges in Feature Writing

While feature writing is rewarding, it presents challenges such as:

Time Consumption : Due to the depth of research and writing required, features take longer to produce than standard news stories.
Balancing Facts and Style : Writers must ensure that their creative storytelling does not overshadow the factual accuracy of the reporting.
Emotional Involvement : Maintaining objectivity can be challenging when dealing with stories that evoke strong emotions.

Feature Writing Examples

Profile of a Local Hero : Exploring the life and impact of a firefighter who saved lives during a recent catastrophic event.
Behind-the-Scenes at a Bakery : A day in the life of a master baker who crafts artisan breads at a popular local bakery.
Reviving the Art of Handwritten Letters : A feature on communities and individuals who are bringing back the tradition of handwritten correspondence.
The Rise of Urban Gardening : How city dwellers are transforming their rooftops and balconies into lush green spaces.
Journey Through Traditional Music : A deep dive into the resurgence of folk music in rural Appalachia.
The Challenge of Remote Education : Chronicling the experiences of teachers and students adapting to online learning during a global pandemic.
The Craft of Artisanal Coffee : Following a bean from its origins in Ethiopia to a cup of coffee in a trendy urban café.
Wildlife Conservation Efforts : Spotlighting a wildlife conservationist working to protect endangered species in Madagascar.
Vintage Fashion Comeback : A feature on how vintage clothing is becoming mainstream and influencing contemporary fashion designers.
Innovations in Renewable Energy : Profiling new technologies that are making solar and wind power more accessible and efficient.

Feature Writing Examples for Students

A Day in the Life of a College President : Explore the responsibilities and daily activities of a college president, including their role in shaping educational policies and student life.
The Science Behind Study Habits : Investigate how different study techniques affect learning outcomes, featuring insights from educational psychologists and students’ personal experiences.
Eco-Friendly Schools : Profile a school that has implemented green initiatives, from recycling programs to solar-powered classrooms, and the impact on the school community.
Student Entrepreneurs : Highlight students who have started their own businesses while managing school responsibilities, focusing on their challenges and successes.
The Evolution of School Lunches : A look at how school cafeterias are transforming meals to be healthier and more appealing to students across various regions.
Technology in the Classroom : Feature the integration of technology in education, showcasing specific tools and apps that enhance learning and student engagement.
Arts in Education : Delve into the importance of arts programs in schools by profiling a successful school band, theater group, or art class and exploring the benefits of artistic expression.
Sports and Teamwork : Follow a school sports team through a season, emphasizing how sports foster skills like teamwork, discipline, and resilience.
Study Abroad Experiences : Share stories from students who have studied abroad, focusing on the cultural and educational impacts of their experiences.
Impact of Mentorship Programs : Examine a mentorship program within a school or community, highlighting the relationships between mentors and mentees and the program’s influence on personal and academic growth.

Tips for Features

Choose an Interesting Topic Select a subject that not only interests you but will also captivate your readers. It could be a person, an event, or a trend that offers rich details and a compelling story.
Do Thorough Research Gather as much information as possible. This includes background research, interviews with experts or key personalities, and firsthand observations. The more detailed and accurate your information, the more credible your article will be.
Create a Strong Hook Start with a compelling introduction that grabs attention. Use an intriguing fact, a powerful quote, or a vivid scene to draw readers into the story.
Develop a Clear Structure Organize your content logically. While news stories often use the inverted pyramid structure, feature articles can follow a more narrative style. Plan out your beginning, middle, and end to ensure a smooth flow of information and story.
Use Descriptive Language Employ vivid descriptions to bring your scenes to life. Let your readers visualize the settings and understand the emotions of the characters involved. Use sensory details to enhance the storytelling.
Include Direct Quotes Incorporate quotes from your interviews to add authenticity and depth. Quotes can provide personal insights and highlight the human aspect of your story.
Show, Don’t Tell Instead of merely telling readers about the situation, show it through details, actions, and words. This technique helps in creating a more immersive reading experience.
Keep the Tone Appropriate Match the tone of your writing to the subject of your feature. A light-hearted topic can have a playful tone, while more serious subjects might require a formal approach.
Edit and Revise Once your first draft is complete, revise it for clarity, accuracy, and engagement. Editing is crucial to ensure that the narrative flows well and is free of grammatical errors.
Seek Feedback Before finalizing your article, get feedback from peers or mentors. Fresh eyes can offer valuable insights and suggest improvements that might have been overlooked.

Style and Objective of Feature Writing

Objective of feature writing.

The primary objectives of feature writing include:

Educating and Informing : While a feature article provides in-depth coverage of a topic, it also educates the reader by offering thorough background information, explaining the complexities, and presenting multiple perspectives.
Engaging and Entertaining : Through narrative techniques, features aim to hold the reader’s interest with a well-told story, potentially including elements of drama, humor, and emotional appeal.
Providing Insight : Features often go beyond the surface of news facts to explore the underlying issues or personal stories, offering readers a deeper understanding of the subject matter.
Evoking Empathy : By focusing on human interest elements, features can evoke empathy and a personal connection, helping readers to see issues from the perspectives of others.
Inspiring Change : Many features aim to inspire action or change by highlighting stories of personal achievement, innovation, or community development.

Style of Feature Writing

Feature writing allows for a range of stylistic expressions that can vary greatly depending on the topic and the intended audience. Some key stylistic elements include:

Narrative Flow : Unlike the inverted pyramid structure of hard news, features often follow a narrative arc that introduces characters, builds up a storyline, and concludes with a resolution or reflection, much like a short story.
Descriptive Detail : Features frequently use descriptive language to create vivid imagery and bring stories to life. This involves detailed descriptions of people, places, and events that engage the senses of the reader.
Personal Voice : Feature writers may inject their own voice and style into the article, offering personal insights or drawn conclusions, which is less common in traditional news writing.
Direct Quotes and Dialogue : Incorporating direct quotes and dialogues enriches the authenticity of the piece, providing personal viewpoints and adding a dynamic layer to the storytelling.
Emotional Depth : The use of emotional elements, whether through the exploration of joy, struggle, or triumph, helps to connect deeply with the reader, making the story memorable and impactful.

FAQ’s

What is the rule for feature writing.

The rule for feature writing is to engage readers with compelling storytelling, relevant information, and a unique angle, all while maintaining clarity, coherence, and a strong narrative structure.

What skills are essential for feature writing?

Essential skills for feature writing include strong research and interviewing techniques, excellent storytelling abilities, the capability to evoke imagery and emotions through words, and the skill to craft well-structured narratives that keep readers engaged from start to finish.

How important are sources in feature writing?

Sources are incredibly important in feature writing as they lend credibility and depth to the narrative. Interviews with direct stakeholders, experts, and eyewitnesses provide the foundational facts and diverse perspectives that enrich the storytelling and factual basis of the feature.

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Feature Writing: What It Is and How to Do It Right

By Happy Sharer

Introduction

Feature writing is a form of journalism that focuses on telling stories in depth. It is used to inform readers about interesting topics and give them a deeper understanding of events and people. Feature writing combines elements of storytelling, research, and interviews to create compelling articles that engage readers and allow them to explore a topic in greater detail. This article will discuss what feature writing is, why it is important, and how to craft successful feature pieces.

Exploring the Definition and Benefits of Feature Writing

Before jumping into how to write a feature article, let’s first take a look at what feature writing actually is. A feature article is a longer piece of writing than a news article, typically between 800 and 1,500 words. Unlike a news article, which is intended to report facts quickly, a feature article dives deep into a topic and provides more detailed information. Feature articles often have a narrative arc, with a beginning, middle, and end. They can be about anything from a person or event to a trend or issue.

Feature articles are different from opinion pieces, as they are not intended to push a particular point of view or agenda. Instead, they are meant to provide an unbiased exploration of a topic. Feature writing also differs from creative writing, as it is based on facts and research rather than imagination. However, feature writers still utilize their creativity when crafting stories, as they must choose which facts to highlight and how to structure the narrative.

So why should you write feature articles? Feature writing can be an effective way to engage readers and build relationships with them. Through feature writing, you can give readers an in-depth look at a topic and help them understand it better. Feature writing also allows you to showcase your writing skills and connect with readers on an emotional level. By creating stories that are both informative and entertaining, you can make a lasting impression on your audience.

A Guide to Crafting Feature Articles

Now that you know what feature writing is and why it is important, let’s take a look at how to write a successful feature article. The first step is to find an interesting topic to write about. Think about issues or stories that you find intriguing, and brainstorm ideas for potential feature pieces. You can also look at current events and trends, as these can be great sources of inspiration.

Once you have chosen a topic, it is time to do some research. Read up on the subject and gather relevant information from reliable sources. Take notes as you go, and look for quotes or other material that you can use in your article. If possible, try to conduct interviews with experts or people involved in the story, as this can add valuable insight to your article.

Once you have gathered all the necessary information, you can begin outlining your feature article. Start by deciding on a structure for your story, such as chronological order or a comparison between two sides of an issue. Then, create a list of points that you want to include in your article. This will help you stay focused and organized while writing.

Finally, it is time to start writing your feature article. Make sure to craft an engaging introduction that will draw readers in and set the tone for your story. As you write, keep in mind the structure you outlined and make sure to include all the important points. Use vivid language to make your article come alive, and don’t forget to proofread your work carefully before submitting it.

Feature Writing: What is it and How to Do It Right

Once you have a basic understanding of what feature writing is and how to craft feature articles, it is time to learn more about the art of feature writing. When writing feature stories, it is important to remember that each one is unique. No two stories will be the same, and there is no “right” way to write a feature article.

When structuring a feature story, think about how you can present the information in an interesting and engaging way. Consider using different formats, such as a Q&A or a timeline, to break up the text and make it easier to read. Also, try to avoid clichés and overused phrases, as these can make your article seem dull and uninteresting.

Interviews are an important part of feature writing, so it is important to ask the right questions. Make sure to prepare ahead of time and come up with thoughtful questions that will elicit meaningful responses. And don’t forget to ask follow-up questions, as this can help you get even more insightful answers.

In addition to structure and interviews, your writing style is also important. Feature writing should be written in an accessible and engaging style. Avoid jargon and technical terms, and focus on creating an inviting and conversational tone. Also, make sure to include vivid details and descriptions to bring your story to life.

Understanding the Art of Feature Writing

Feature writing is an art, and it takes practice to master. To become a successful feature writer, it is important to understand the different types of feature writing and how to use them effectively. There are three main types of feature writing: human interest stories, investigative pieces, and profiles. Human interest stories focus on people and their lives, while investigative pieces delve into specific issues and uncover new information. Profiles are biographical stories that explore a person’s life and accomplishments.

Visuals can also be an important part of feature writing. Photos, videos, and illustrations can help bring your story to life and help readers connect with it. However, it is important to make sure that any visuals you use are relevant and high quality. Low-quality images can take away from the impact of your article.

Finally, it is important to create an engaging voice for your feature pieces. Think about how you can make your writing stand out and draw readers in. Consider using humor, wordplay, and other techniques to make your article more memorable. Also, make sure to keep your readers in mind and tailor your writing to their interests and needs.

The Power of Feature Writing for Journalists and Writers

Feature writing has the power to engage readers and spark social change. Stories about real people and issues can inspire readers to take action and make a difference. Feature writing can also be used as a platform for reporting on injustices and raising awareness about important issues.

There are many examples of feature writing that have had a powerful impact. One example is the Pulitzer Prize-winning series “Angels in America” by Washington Post reporter Gene Weingarten. The series explored the struggles of a family living with AIDS in the 1980s, and it helped change public perception and attitudes towards the disease.

Another example of impactful feature writing is the New York Times’ “Modern Love” column. The column publishes personal essays about love and relationships, and it has become a popular destination for readers looking for advice and comfort. By sharing intimate stories, the column has created an online community and sparked conversations about love and relationships.

Feature writing is a powerful tool for journalists and writers who want to engage readers and tell compelling stories. Feature writing combines elements of storytelling, research, and interviews to create in-depth articles that explore a topic in detail. It is important to keep in mind the different types of feature writing and how to structure a feature story when crafting a feature article. Additionally, visuals and an engaging voice can help make your article even more impactful. Feature writing has the power to inform readers and spark social change, and it is an important skill for any journalist or writer.

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How to Write a Feature Article: A Step-by-Step Guide

Feature stories are one of the most crucial forms of writing these days, we can find feature articles and examples in many news websites, blog websites, etc. While writing a feature article a lot of things should be kept in mind as well. Feature stories are a powerful form of journalism, allowing writers to delve deeper into subjects and explore the human element behind the headlines. Whether you’re a budding journalist or an aspiring storyteller, mastering the art of feature story writing is essential for engaging your readers and conveying meaningful narratives. In this blog, you’ll find the process of writing a feature article, feature article writing tips, feature article elements, etc. The process of writing a compelling feature story, offering valuable tips, real-world examples, and a solid structure to help you craft stories that captivate and resonate with your audience.

Read Also: Top 5 Strategies for Long-Term Success in Journalism Careers

Table of Contents

Understanding the Essence of a Feature Story

Before we dive into the practical aspects, let’s clarify what a feature story is and what sets it apart from news reporting. While news articles focus on delivering facts and information concisely, feature stories are all about storytelling. They go beyond the “who, what, when, where, and why” to explore the “how” and “why” in depth. Feature stories aim to engage readers emotionally, making them care about the subject, and often, they offer a unique perspective or angle on a topic.

Tips and tricks for writing a Feature article

In the beginning, many people can find difficulty in writing a feature, but here we have especially discussed some special tips and tricks for writing a feature article. So here are some Feature article writing tips and tricks: –

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1. Choose an Interesting Angle:

The first step in feature story writing is selecting a unique and compelling angle or theme for your story. Look for an aspect of the topic that hasn’t been explored widely, or find a fresh perspective that can pique readers’ curiosity.

2. Conduct Thorough Research:

Solid research is the foundation of any feature story. Dive deep into your subject matter, interview relevant sources, and gather as much information as possible. Understand your subject inside out to present a comprehensive and accurate portrayal.

3. Humanize Your Story:

Feature stories often revolve around people, their experiences, and their emotions. Humanize your narrative by introducing relatable characters and sharing their stories, struggles, and triumphs.

4. Create a Strong Lead:

Your opening paragraph, or lead, should be attention-grabbing and set the tone for the entire story. Engage your readers from the start with an anecdote, a thought-provoking question, or a vivid description.

5. Structure Your Story:

Feature stories typically follow a narrative structure with a beginning, middle, and end. The beginning introduces the topic and engages the reader, the middle explores the depth of the subject, and the end provides closure or leaves readers with something to ponder.

6. Use Descriptive Language:

Paint a vivid picture with your words. Utilize descriptive language and sensory details to transport your readers into the world you’re depicting.

7. Incorporate Quotes and Anecdotes:

Quotes from interviews and anecdotes from your research can breathe life into your story. They add authenticity and provide insights from real people.

8. Engage Emotionally:

Feature stories should evoke emotions. Whether it’s empathy, curiosity, joy, or sadness, aim to connect with your readers on a personal level.

Read Also: The Ever-Evolving World Of Journalism: Unveiling Truths and Shaping Perspectives

Examples of Feature Stories

Here we are describing some of the feature articles examples which are as follows:-

“Finding Beauty Amidst Chaos: The Life of a Street Artist”

This feature story delves into the world of a street artist who uses urban decay as his canvas, turning neglected spaces into works of art. It explores his journey, motivations, and the impact of his art on the community.

“The Healing Power of Music: A Veteran’s Journey to Recovery”

This story follows a military veteran battling post-traumatic stress disorder and how his passion for music became a lifeline for healing. It intertwines personal anecdotes, interviews, and the therapeutic role of music.

“Wildlife Conservation Heroes: Rescuing Endangered Species, One Baby Animal at a Time”

In this feature story, readers are introduced to a group of dedicated individuals working tirelessly to rescue and rehabilitate endangered baby animals. It showcases their passion, challenges, and heartwarming success stories.

What should be the feature a Feature article structure?

Read Also: What is The Difference Between A Journalist and A Reporter?

Structure of a Feature Story

A well-structured feature story typically follows this format:

Headline: A catchy and concise title that captures the essence of the story. This is always written at the top of the story.

Lead: A captivating opening paragraph that hooks the reader. The first 3 sentences of any story that explains 5sW & 1H are known as lead.

Introduction : Provides context and introduces the subject. Lead is also a part of the introduction itself.

Body : The main narrative section that explores the topic in depth, including interviews, anecdotes, and background information.

Conclusion: Wraps up the story, offers insights, or leaves the reader with something to ponder.

Additional Information: This may include additional resources, author information, or references.

Read Also: Benefits and Jobs After a MAJMC Degree

Writing a feature article is a blend of journalistic skills and storytelling artistry. By choosing a compelling angle, conducting thorough research, and structuring your story effectively, you can create feature stories that captivate and resonate with your readers. AAFT also provides many courses related to journalism and mass communication which grooms a person to write new articles, and news and learn new skills as well. Remember that practice is key to honing your feature story writing skills, so don’t be discouraged if it takes time to perfect your craft. With dedication and creativity, you’ll be able to craft feature stories that leave a lasting impact on your audience.

What are the characteristics of a good feature article?

A good feature article is well-written, engaging, and informative. It should tell a story that is interesting to the reader and that sheds light on an important issue.

Why is it important to write feature articles?

Feature articles can inform and entertain readers. They can also help to shed light on important issues and to promote understanding and empathy.

What are the challenges of writing a feature article?

The challenges of writing a feature article can vary depending on the topic and the audience. However, some common challenges include finding a good angle for the story, gathering accurate information, and writing in a clear and concise style.

Aaditya Kanchan is a skilled Content Writer and Digital Marketer with experience of 5+ years and a focus on diverse subjects and content like Journalism, Digital Marketing, Law and sports etc. He also has a special interest in photography, videography, and retention marketing. Aaditya writes in simple language where complex information can be delivered to the audience in a creative way.

Feature Article Writing Tips
How to Write a Feature Article
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How to Write a Feature Article

Last Updated: March 11, 2024 Approved

This article was co-authored by Mary Erickson, PhD . Mary Erickson is a Visiting Assistant Professor at Western Washington University. Mary received her PhD in Communication and Society from the University of Oregon in 2011. She is a member of the Modern Language Association, the National Communication Association, and the Society for Cinema and Media Studies. There are 7 references cited in this article, which can be found at the bottom of the page. wikiHow marks an article as reader-approved once it receives enough positive feedback. This article has 41 testimonials from our readers, earning it our reader-approved status. This article has been viewed 1,461,226 times.

Writing a feature article involves using creativity and research to give a detailed and interesting take on a subject. These types of articles are different from typical news stories in that they often are written in a different style and give much more details and description rather than only stating objective facts. This gives the reader a chance to more fully understand some interesting part of the article's subject. While writing a feature article takes lots of planning, research, and work, doing it well is a great way to creatively write about a topic you are passionate about and is a perfect chance to explore different ways to write.

Choosing a Topic

Human Interest : Many feature stories focus on an issue as it impacts people. They often focus on one person or a group of people.
Profile : This feature type focuses on a specific individual’s character or lifestyle. This type is intended to help the reader feel like they’ve gotten a window into someone’s life. Often, these features are written about celebrities or other public figures.
Instructional : How-to feature articles teach readers how to do something. Oftentimes, the writer will write about their own journey to learn a task, such as how to make a wedding cake.
Historical : Features that honor historical events or developments are quite common. They are also useful in juxtaposing the past and the present, helping to root the reader in a shared history.
Seasonal : Some features are perfect for writing about in certain times of year, such as the beginning of summer vacation or at the winter holidays.
Behind the Scenes : These features give readers insight into an unusual process, issue or event. It can introduce them to something that is typically not open to the public or publicized.

Step 4 Consider the audience you’d like to talk to.

Interviewing Subjects

Step 1 Schedule an interview at a time and place convenient for the interviewee.

Schedule about 30-45 minutes with this person. Be respectful of their time and don’t take up their whole day. Be sure to confirm the date and time a couple of days ahead of the scheduled interview to make sure the time still works for the interviewee.
If your interviewee needs to reschedule, be flexible. Remember, they are being generous with their time and allowing you to talk with them, so be generous with your responses as well. Never make an interviewee feel guilty about needing to reschedule.
If you want to observe them doing a job, ask if they can bring you to their workplace. Asking if your interviewee will teach you a short lesson about what they do can also be excellent, as it will give you some knowledge of the experience to use when you write.

Be sure to ask your interviewee if it’s okay to audio-record the interview. If you plan to use the audio for any purpose other than for your own purposes writing up the article (such as a podcast that might accompany the feature article), you must tell them and get their consent.
Don't pressure the interviewee if they decline audio recording.

Step 6 Confirm details about your interviewee.

Another good option is a question that begins Tell me about a time when.... This allows the interviewee to tell you the story that's important to them, and can often produce rich information for your article.

Preparing to Write the Article

Step 1 Choose a format for your article.

Start by describing a dramatic moment and then uncover the history that led up to that moment.
Use a story-within-a-story format, which relies on a narrator to tell the story of someone else.
Start the story with an ordinary moment and trace how the story became unusual.

Step 2 Decide on approximate length for the article.

Check with your editor to see how long they would like your article to be.

Consider what you absolutely must have in the story and what can be cut. If you are writing a 500-word article, for example, you will likely need to be very selective about what you include, whereas you have a lot more space to write in a 2,500 word article.

Writing the Article

Start with an interesting fact, a quote, or an anecdote for a good hook.
Your opening paragraph should only be about 2-3 sentences.

Step 2 Expand on your lead in the second paragraph.

Be flexible, however. Sometimes when you write, the flow makes sense in a way that is different from your outline. Be ready to change the direction of your piece if it seems to read better that way.

Finalizing the Article

Step 1 Check for accuracy, and check again.

You can choose to incorporate or not incorporate their suggestions.

Consult "The Associated Press Stylebook" for style guidelines, such as how to format numbers, dates, street names, and so on. [7] X Research source

If you want to convey slightly more information, write a sub-headline, which is a secondary sentence that builds on the headline.

Step 6 Submit your article by the deadline.

How Do You Come Up With an Interesting Angle For an Article?

Sample Feature Article

Community Q&A

Ask to see a proof of your article before it gets published. This is a chance for you to give one final review of the article and double-check details for accuracy. Thanks Helpful 0 Not Helpful 0

Be sure to represent your subjects fairly and accurately. Feature articles can be problematic if they are telling only one side of a story. If your interviewee makes claims against a person or company, make sure you talk with that person or company. If you print claims against someone, even if it’s your interviewee, you might risk being sued for defamation. [9] X Research source Thanks Helpful 0 Not Helpful 0

↑ http://morrisjournalismacademy.com/how-to-write-a-feature-article/
↑ https://www.nytimes.com/learning/students/writing/voices.html
↑ http://careers.bmj.com/careers/advice/view-article.html?id=20007483
↑ http://faculty.washington.edu/heagerty/Courses/b572/public/StrunkWhite.pdf
↑ https://www.apstylebook.com/
↑ http://www.entrepreneur.com/article/166662
↑ http://www.nolo.com/legal-encyclopedia/libel-vs-slander-different-types-defamation.html

About This Article

To write a feature article, start with a 2-3 sentence paragraph that draws your reader into the story. The second paragraph needs to explain why the story is important so the reader keeps reading, and the rest of the piece needs to follow your outline so you can make sure everything flows together how you intended. Try to avoid excessive quotes, complex language, and opinion, and instead focus on appealing to the reader’s senses so they can immerse themselves in the story. Read on for advice from our Communications reviewer on how to conduct an interview! Did this summary help you? Yes No

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4 Types of Features

From profiles to travel stories, there is feature style for everyone

“If my doctor told me I had only six minutes to live, I wouldn’t brood. I’d type a little faster.” Isaac Asimov

Truth be told, no one writes a plain, old feature article, since “feature” is an umbrella term that encompasses a broad range of article types, from profiles to how-tos and beyond.

The goal here is not just to know these types exist but rather to use them to shape your material into a format that best serves your reader and the publication for which you are writing. Pitching a story that takes a particular format or angle also helps editors see the focus and appeal of your idea more clearly, which can help you get hired.

Let’s take a look at some of the most common feature article types.

A profile is a mini-biography on a single entity — person, place, event, thing — but it revolves around a nut graph that includes something newsworthy happening now. That “hook,” as we call the news focus, must be evident throughout the story.

A profile on Jennifer Lawrence might be interesting, but it is most likely to be published about the time she has a new movie coming out or she wins an award.

This fulfills the readers’ desire to know why they are reading about someone at a given time or in a given magazine.

The best profiles examine characters and document struggles and dreams. It’s important that you show a complete picture of who or what is being profiled — warts and all — especially since the controversy is often what keeps people reading. Controversy, however, is not the only compelling aspect of profiles. They are, most importantly, personal and insightful, beyond the pedantic list of accomplishments you can get from a bio sheet or a PR campaign.

Profiles aim to:

Reveal feelings
Expose attitudes
Capture habits and mannerisms.
Entertain and inform.

Accomplishing those goals is what makes profiles challenging to write, but also makes them among the most compelling and fulfilling stories to create.

Delving deeply into your subject’s interests, career, education and family can bring out amazing anecdotes, as can reporting in an immersive style.

The goal is to watch your subject closely and document his or her habits, mannerisms, vocal tones, dress, interactions and word choice. Describing these elements for readers can contribute to a fuller and more accurate presentation of the interview subject.

Consider this opening paragraph from one of my favorite profiles, Jeff Perlman’s look at one-time baseball bad boy John Rocker of the Atlanta Braves:

A MINIVAN is rolling slowly down Atlanta’s Route 400, and John Rocker, driving directly behind it in his blue Chevy Tahoe, is pissed. “Stupid bitch! Learn to f—ing drive!” he yells. Rocker honks his horn. Once. Twice. He swerves a lane to the left. There is a toll booth with a tariff of 50 cents. Rocker tosses in two quarters. The gate doesn’t rise. He tosses in another quarter. The gate still doesn’t rise. From behind, a horn blasts. “F— you!” Rocker yells, flashing his left middle finger out the window. Finally, after Rocker has thrown in two dimes and a nickel, the gate rises. Rocker brings up a thick wad of phlegm. Puuuh! He spits at the machine. “Hate this damn toll.”

Perlman does not have to tell us anything about Rocker; he has shown us and lets us make our own determinations as to the person we are getting to know through this article.

Research is key to any piece, but profiles provide the ultimate test of your interviewing skills. How well can you coax complete strangers into sharing details of their private lives? Your job is to get subjects to open up and share their true personalities, memories, experiences, opinions, feelings and reflections.

This comes from a true conversational style and a willingness to probe as deep as you need to get the material you need.

Interview your subject and as many people as you need to get clear perspectives of your profile subject.

Not everyone will make your article, but you can get background information and anecdotes that could be crucial to understanding your subject or asking key questions. (Now might be a good time to download “Always Get the Name of the Dog.”)

Take the time to watch your subject at work or play so you can really get to know them in a three-dimensional way.

The fewer sources and the less time you spend with your subject the less accurate or complex your profile will be.

The framework of a profile follows these guidelines:

Anecdotal lede

An engaging, revealing a little story to lure us into your article.

Nut graph/Theme

A paragraph that shows the reader what exactly this story is about and why does this entity matter now?

Observe our subject in action now using dialogue details and descriptions.

A recap of our subject’s past activities using facts, quotes and anecdotes as they relate to the theme.

Where Are We Now?

What is our subject doing now, as it relates to the theme?

What Lies Ahead?

Plans, dreams, goals and barriers to overcome.

Closing Quote

Bring the article home in a way that makes the reader feel the story is complete like they can sigh at the end of a good tale.

A Q&A article is just what it sounds like — an article structured in questions and answers.

Freelancers and editors both like them for several reasons:

They’re easy to write.
They’re easy to read.
They can be used on a variety of subjects.

The catch is writers/interviewers must take even greater care with the questions asked and ensuring the quality of the answers received because they will provide both the skeleton and the meat of your piece.

This may seem obvious, but quality questions are vital, meaning we avoid closed-ended (yes or no, single-word answer) questions and instead ask questions that will inspire some thought, creativity and explanation or description.

Q&A articles start with an introduction into the subject — often as anecdotal as any other piece, but then transition into the fly-on-the-wall feeling of watching an interview take place. You are the interviewer.

The subject is the interviewee, and the reader is sitting alongside you both soaking in the experience and your relationship.

That means a Q&A has to stay conversational so it does not feel like a written interrogation.

The interview itself is much like we would use for an article, but you have to be more conscious of the order in which you ask questions, how they transition from one another and the quality of the answer so you are not tempted to move answers around.

You will be amazed at how many words get generated in an actual conversation or interview, so the Q&A is far from over when the interview concludes. Editing and cutting the interview transcript can take far longer than the interview itself.

You cannot change your subject’s words, but you take out redundancies and those verbal lubricants that keep conversations moving — “like,” “you know,” etc., Sentences and phrases can be edited out by using ellipses (…) to show you have removed something.

Grammar is a challenge with a lot of transcripts, and I will leave in that which represents the subject, but I will not let them come across badly by misusing words or phrases.

Instead, let’s take it out or ask them to clarify.

If you do an internet search on “round-up story,” you very often get a collection of information from various places on a central them.

Feature round-ups are written the same way.

These articles are like list blog posts, where you have a variety of suggestions from different sources that advance a common idea:

7 secrets to a happy baby
10 best vacation spots with a teenager
5 tips on how to pick the perfect roommate

You may notice that there is a numeric value on each of these ideas, and that is a key part of the roundup. You are offering a collection of suggestions, provided and supported by sources, on a specific topic.

The article begins, as most features do, with an anecdote that takes us to a theme, but instead of a uniform or chronological body style, we break it up into these sections outlined by each numbered suggestion.

Each section can be constructed like its own mini feature — complete with sources, facts, anecdote and quotes, or just the advice provided by a qualified source (not the author!).

There does not need to be a specific order to how each piece of the article is presented, rather their order is interchangeable.

It is important to have sources with some level of expertise and not merely opinions on the topic. Just because someone went to Club Med with their 5-year-old and had fun does not mean it’s the best vacation spot for kids.

We first need an idea of what makes a good vacation spot and then support with facts how this one fits the criteria.

Readers love to learn how to do new things, and there are few better ways to teach them than through how-to articles.

How-to articles provide a description of how something can be accomplished using information and advice, giving step-by-step directions, supplies and suggestions for success.

Unlike round-ups, these articles must be written sequentially and have to end with some sort of success.

Aim for something that most people don’t know how to do, or something that offers a new way of approaching a familiar task. Most importantly, make sure it is neither too simplistic, nor too complex for their attempt, and include provide definitions and anecdotes that show how things can go well or poorly in attempting this task.

Personal Experience

Most of us have had some experience that we think, “I would love to write about this so other people can learn or enjoy this with me.”

If you have a truly original and teachable moment and can find the right feature to which to pitch it, you may very well have a personal experience story on your hands.

Some guidelines for finding such a story include whether this is an experience readers would:

Wish to share?
Learn or benefit from?
Wish to avoid?
Help cope with a challenge?

Unlike a first-person lede, which might use your personal anecdote to get us into a broader story, in a personal experience article you are the story, and how we learn from your experience will help us navigate the same waters.

They can be emotional, like the New Yorker piece on women who share their abortion stories , but they can also be about amazing vacations that others might consider — “Bar Mitzvah trip to Israel” anyone? — or how about a man who quits a high-powered job to stay home with his kids?

No matter what your experience, you must be willing to tell your story with passion and objectivity, sharing the good, the bad and the uncomfortable, and making readers part of the experience.

It’s important that the experience is over before you pitch, so the reader can get a clear perspective of what happened and the resolution. Did it work or not?

As the author, you also need time to gain perspective on your issue so you can “report” it as objectively as possible.

Finally, make sure you are chronicling something attainable or achievable. We need to go through it and come out the other side with evidence that will make us smarter and better equipped to handle a similar situation that might come our way.

The Art of Covering Horse Racing

Melissa Hoppert is the racing writer from the New York Times, and despite covering the same events over and over she manages to find a unique story each time.

Belmont Park is called “Big Sandy,” because the track has so much sand on it. I rode the tractor and asked the trackman, “What makes it like that? What it’s like to race on it?”

It was my most-read story that year. You have to think outside the box.

When the horse Justify came along, it was like ”here we go again — another Triple Crown with the same trainer. What can I possibly write about Bob Baffert that has not written before?

We observed and thought outside the box. We didn’t do a Bob Baffert feature. We went to the barn and still talked to him every day, but we looked at things differently.

We focused more on the owners . They were in a partnership and that is a trend of the sport. Rich owners team up to share the risk. That made it more of a trend story. Is this where we are going.

Sometimes I like writing about the horse. American Pharoah was a really fun, quirky horse. My most favorite story was when I went to visit American Pharoah’s sire, Pioneer of the Nile , at the breeding shed. He has a weird breeding style. He needed the mood to be set. It was kind of random, but it helped tell a story of American Pharoah that had not yet been told.

True-Life Drama

Examples of these include:

The couple on a sight-seeing plane ride that had to land the plane when their pilot died
Aron Ralston frees himself by sawing off his own arm after getting trapped in the desert.
Tornado survival stories

It is fitting that the first example I found to show you of true-life dramas came from Readers Digest because these types of stories are the bread and butter of that magazine.

They are the stories that are almost impossible to believe but are true, and they are driven by the characters who make them come to life.

Some “true-life dramas” become even more famous when they are adapted for the screen, like the Slate story of being rescued from Iran , you might know better as the film, “Argo.”

How about Capt. Richard Phillips’ dramatic struggle with Somali pirates, now a film starring Tom Hanks?

Steve Lopes of the Los Angeles Times found a violin-playing homeless man who became the subject of numerous columns and later the movie “The Soloist.”

These stories are, quite simply, dramatic experiences from real people, where they live through moments few of us can imagine.

Many of the feature versions of these stories start as newspaper coverage of the breaking event, and then a desire to go behind-the-scenes and chronicle exactly what happened over a much longer course of time — the lead-up, the culmination and the aftermath.

Being a consumer of news will help you come across these stories, and a desire to conduct really penetrating interviews to get the “real story” will make them come to life.

You might not be thinking about Christmas in May or back-to-school in February, but chances are editors will be scheduling those topics and looking for article ideas.

Seasonal stories are the ones that happen every year and need a fresh angle on an annual basis.

It goes beyond standbys like “Best side dishes for Thanksgiving,” and how to make a good Easter basket, to “ How to do the holidays in a newly divorced family ,” and “Back to school shopping for a home-schooled child.”

The key is that a timely observance is interwoven in the theme, and these stories are planned and often executed months in advance since we all know they are coming.

Seasonal can also relate to anniversaries — Sept. 11, Martin Luther King Jr. Day, Titanic sinking — and their marketability can escalate dramatically around an anniversary.

The angle is all about the audience, so think how you can spin one day or a milestone event to toddlers, teens, seniors, your local community, pets, business, food, travel and you may suddenly have 10 stories from one topic.

Remember, though, that your pitch has to come long before the event is even in the mind of most readers — at least six months and sometimes a year.

The perceived glamour division of freelance writing is the travel piece, which most people think comes with an all-expense-paid trip to swanky, exotic locations.

That can be true, but more likely writers make their own plans and accommodations and their pay reflects that a portion of their compensation comes from the good time they had traveling.

The good news is that with the rise of travel blogs and smaller travel publications there are more outlets than ever to pitch your ideas, provided they are original and unique to the audience.

That means, “Traveling to Paris,” probably won’t work, but “ Traveling to Paris on $50 a day ” just might.

That also does not mean that publications are looking for your personal essay on what you did for your summer vacation, or just because you visited Peru and loved it that it’s worthy of a feature article. You have to show the editor and the reader why you have a unique perspective and angle on a traveling experience.

Travel writing means looking for stories on about:

How to travel
When to travel
Advice on traveling

The more specifically you can focus on a population of travelers — seniors, parents, honeymooners, first-time family vacation — the more likely you can come up with an idea that has not been overdone and pitch it to a niche magazine.

In a column on the Writer’s Digest website, Brian Klems writes the need to travel “deeply” as opposed to just widely, and I thought that was such an insightful term. He spelled out the need to really dig deep into whatever area you might cover and take copious, detailed notes, but I would add that you also have to really dig deep into what people want to know about travel and enough to go past the cliché or stereotypes.

The more descriptively you can present experiences, the more compelled readers may be to join you.

To separate yourself from the cacophony of travel voices out there, consider building up expertise in one subject or area. If you are from an interesting area, see how you can pitch stories to bring make outsiders insiders. Are you a big hockey fan? What about traveling to different hockey venues and making a weekend travel story out of what to see and do before and after the game?

The key to success is to become a curious and perceptive traveler from the minute you book a trip. Think about how your experience can be a travel story, as opposed to only looking to pitch stories that could become an experience.

Some other types to consider:

Essay or Opinion

First-person pieces, which usually revolve around an important or timely subject (if they’re to be published in a newspaper or “serious” magazine).

Historical Article

Focus on a single historical aspect of the subject but make a current connection.

Trend Story

Takes the pulse of a population right now, often in technology, fashion, arts and health.

No, we are not talking about trees.

Evergreen stories are ones that do not have an expiration date and can be pitched for creation at any time.

A profile on a new trend or profile-worthy person has to be pitched in relatively short order, or it will not really marketable anymore. But a story on how to build an exercise program around your pet does not really have to be published at a specific time.

Incorporating evergreen ideas into your repertoire of story ideas will open up even more publishing doors.

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Expert Commentary

Feature writing: Crafting research-based stories with characters, development and a structural arc

Semester-long syllabus that teaches students how to write stories with characters, show development and follow a structural arc.

Republish this article

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by The Journalist's Resource, The Journalist's Resource January 22, 2010

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The best journalism engages as it informs. When articles or scripts succeed at this, they often are cast as what is known as features or contain elements of a story. This course will teach students how to write compelling feature articles, substantive non-fiction stories that look to a corner of the news and illuminate it, often in human terms.

Like news, features are built from facts. Nothing in them is made up or embellished. But in features, these facts are imbedded in or interwoven with scenes and small stories that show rather than simply tell the information that is conveyed. Features are grounded in time, in place and in characters who inhabit both. Often features are framed by the specific experiences of those who drive the news or those who are affected by it. They are no less precise than news. But they are less formal and dispassionate in their structure and delivery. This class will foster a workshop environment in which students can build appreciation and skill sets for this particular journalistic craft.

Course objective

To teach students how to interest readers in significant, research-based subjects by writing about them in the context of non-fiction stories that have characters, show development and follow a structural arc from beginning to end.

Learning objectives

Explore the qualities of storytelling and how they differ from news.
Build a vocabulary of storytelling.
Apply that vocabulary to critiquing the work of top-flight journalists.
Introduce a writing process that carries a story from concept to publication.
Introduce tools for finding and framing interesting features.
Sharpen skills at focusing stories along a single, clearly articulated theme.
Evaluate the importance of backgrounding in establishing the context, focus and sources of soundly reported stories.
Analyze the connection between strong information and strong writing.
Evaluate the varied types of such information in feature writing.
Introduce and practice skills of interviewing for story as well as fact.
Explore different models and devices for structuring stories.
Conceive, report, write and revise several types of feature stories.
Teach the value of “listening” to the written word.
Learn to constructively critique and be critiqued.
Examine markets for journalism and learn how stories are sold.

Week 1: What makes feature stories different?

Previous week | Next week | Back to top

Class 1: News reports versus stories

The words “dispassionate,” “factual” and “front-loaded” might best describe the traditional news story. It is written to convey information quickly to the hurried reader. Features, on the other hand, are structured and told so that readers engage in and experience a story — with a beginning, middle and end — even as they absorb new information. It is features that often are the stories emailed to friends or linked on their Facebook pages. Nothing provides more pleasure than a “good read” a story that goes beyond basic information to transport audiences to another place, to engage an audience in others’ lives, to coax a smile or a tear.

This class will begin with a discussion of the differences in how journalists approach both the reporting and writing of features. In news, for example, reporters quote sources. In features, they describe characters, sometimes capturing their interaction through dialogue instead of through disembodied quotes. Other differences between news and story are summarized eloquently in the essays “Writing to Inform, Writing to Engage” and “Writing with ‘Gold Coins'” on pages 302 to 304 of Clark and Scanlan’s America’s Best Newspaper Writing . These two essays will be incorporated in class discussion.

The second part of the introductory class will focus on writing as a continuum that begins with the inception of an idea. In its cover blurb, William Blundell’s book is described as “a step-by-step guide to reporting and writing as a continuous, interrelated process.”

Notes Blundell: “Before flying out the door, a reporter should consider the range of his story, its central message, the approach that appears to best fit the tale, and even the tone he should take as a storyteller.” Such forethought defines not only how a story will be reported and written but the scope of both. This discussion will emphasize that framing and focusing early allows a reporter to report less broadly and more deeply, assuring a livelier and more authoritative story.

READING (assignments always are for the next class unless otherwise noted):

Blundell, Chapter 1
Clark/Scanlan, “The Process of Writing and Reporting,” pages 290-294.

ASSIGNMENT:

Before journalists can capture telling details and create scenes in their feature stories, they need to get these details and scenes in their notebooks. They need, as Blundell says, to be keen observers “of the innocuous.” In reporting news, journalists generally gather specific facts and elucidating quotes from sources. Rarely, however, do they paint a picture of place, or take the time to explore the emotions, the motives and the events that led up to the news. Later this semester, students will discuss and practice interviewing for story. This first assignment is designed to make them more aware of the importance of the senses in feature reporting and, ultimately, writing.

Students should read the lead five paragraphs of Hal Lancaster’s piece on page 56 of Blundell and the lead of Blundell’s own story on page 114. They should come prepared to discuss what each reporter needed to do to cast them, paying close attention to those parts based on pure observation and those based on interviewing.

Finally, they should differentiate between those parts of the lead that likely were based on pure observation and those that required interviewing and research. This can be done in a brief memo.

Class 2: Building observational and listening skills

Writing coach Don Fry, formerly of the Poynter Institute, used the term “gold coins” to describe those shiny nuggets of information or passages within stories that keep readers reading, even through sections based on weighty material. A gold coin can be something as simple as a carefully selected detail that surprises or charms. Or it can be an interior vignette, a small story within a larger story that gives the reader a sense of place or re-engages the reader in the story’s characters.

Given the feature’s propensity to apply the craft of “showing” rather than merely “telling,” reporters need to expand their reporting skill set. They need to become keen observers and listeners, to boil down what they observe to what really matters, and to describe not for description’s sake but to move a story forward. To use all the senses to build a tight, compelling scene takes both practice and restraint. It is neither license to write a prose-poem nor to record everything that’s seen, smelled or heard. Such overwriting serves as a neon exit sign to almost any reader. Yet features that don’t take readers to what Blundell calls “street level” lack vibrancy. They recount events and measure impact in the words of experts instead of in the actions of those either affected by policy, events or discovery of those who propel it.

In this session, students will analyze and then apply the skill sets of the observer, the reporter who takes his place as a fly on the wall to record and recount the scene. First students will discuss the passive observation at the heart of the stories assigned above. Why did the writers select the details they did? Are they the right ones? Why or why not?

Then students will be asked to report for about 30 to 45 minutes, to take a perch someplace — a cafeteria, a pool hall, a skateboard park, a playground, a bus stop — where they can observe and record a small scene that they will be asked to recapture in no more than 150 to 170 words. This vignette should be written in an hour or less and either handed in by the end of class or the following day.

Four fundamental rules apply:

The student reporters can only write what they observe or hear. They can’t ask questions. They certainly can’t make anything up.
The students should avoid all opinion. “I” should not be part of this story, either explicitly or implicitly.
The scene, which may record something as slight as a one-minute exchange, should waste no words. Students should choose words and details that show but to avoid words and details that show off or merely clutter.
Reporters should bring their lens in tight. They should write, for example, not about a playground but about the jockeying between two boys on its jungle gym.

Reading: Blundell, Chapter 1, Stepp, pages 64 to 67. Students will be assigned to read one or more feature articles built on the context of recently released research or data. The story might be told from the perspective of someone who carried out the research, someone representative of its findings or someone affected by those findings. One Pulitzer Prize-winning example is Matt Richtel’s “Dismissing the Risks of a Deadly Habit,” which began a series for which The New York Times won a Pulitzer Prize for National Reporting in 2010. Richtel told of the dangers of cell phones and driving through the experiences of Christopher Hill, a young Oklahoma driver with a clean record who ran a light and killed someone while talking on the phone. Dan Barry’s piece in The Times , “From an Oyster in the Gulf, a Domino Effect,” tells the story of the BP oil spill and its impact from the perspective of one oysterman, placing his livelihood into the context of those who both service and are served by his boat.

Finish passive observational exercise (see above).
Applying Blundell’s criteria in Chapter 1 (extrapolation, synthesis, localization and projection), students should write a short memo that establishes what relationship, if any, exists between the features they were assigned to read and the news or research developments that preceded them. They should consider whether the reporter approached the feature from a particular point of view or perspective. If so, whose? If not, how is the story structured? And what is its main theme? Finally, students should try to identify three other ways feature writers might have framed a story based on the same research.

Week 2: The crucial early stages: Conceiving and backgrounding the story

Class 1: Finding fresh ideas

In the first half of class, several students should be asked to read their observed scenes. Writing is meant to be heard, not merely read. After each student reads a piece, the student should be asked what he or she would do to make it better. Then classmates should be encouraged to make constructive suggestions. All students should be given the opportunity to revise.

In the second half of class, students will analyze the origins of the features they were assigned to read. The class might be asked to form teams and to identify other ways of approaching the material thematically by using Blundell’s methods of looking at an issue.

Feature writers, the author writes, are expected to find and frame their own ideas.

“The feature writer who doesn’t have two or three projects bubbling on his own stove is doing only half a job,” he writes.

Conceiving stories, Blundell notes, involves more than clear and original thought. Reporters need idea files and source files. They need to read prolifically in areas about which they know little. They need to look for areas that are under covered by their publications. They need to walk through their communities with the wonderment of tourists who have just landed in a foreign city.

This degree of organization and engagement assures reporters far greater success in applying some of Blundell’s other tools of analysis.

These include:

Extrapolation — Looking for the “why” or principal cause of a story. After the explosion that killed BP workers and spewed oil into the Gulf of Mexico, some feature stories likely told the dramatic, but relatively narrow, story of the night things went bad. Others, based on much weightier investigation, traced the series of bad decisions BP made that ultimately led to catastrophe. Both, in their way, would have been considered backgrounders to the news development.
Synthesis — Looking for common threads that can broaden a story’s impact. Blundell offers the example of a series of mishaps in the city of San Diego that made the city ripe for a feature on its dubious claim to being the American capital of civic embarrassment.
Localization — Examining big events or developments in smaller ways — either by taking a national or global event and examining its impact within the writer’s local area or by viewing a broad, thematic problem — post-traumatic stress disorder in the military, for example — through the experiences of an individual whose story represents the more universal experience. (In his book, Writing for Your Readers , Donald Murray writes: “Most good stories say one thing. They tell the story not of a battle, but of a soldier: they talk not about governance, but a deal; they discuss not a socioeconomic group, but reveal a person and a life.” Blundell writes that it is easier for most feature writers to be miniaturists than muralists.)
Projection — Looking beyond the news development by writing a story that considers how the news affects a person or group of people. In Richtel’s story about the dangers of cell phones and driving, he builds the story around one young man whose life was shaken when he ran a stop light and took a life while talking on the phone.

Conceiving a story is only the first step. The reporter must go deep to report and write the story well. “To me,” Blundell writes, “the most important part of reporting is knowing what you need to make the story go.”

Reading: Blundell Chapter 3 and 4

Assignment: Students should either use materials posted on the Journalist’s Resource web site at the Shorenstein Center or developed at a research center at their university to identify and background a news or research development that can serve as the basis for developing a unique feature angle or approach. This feature should not profile, or tell the story of, either of an institution or an individual. Profiles will be assigned later in the semester. Instead students should look for features that either look behind a news development, such as the BP backgrounders described earlier, or features that look at the impact of a news development on those most directly affected by it or those who would be expected to translate it into policy. Students should keep in mind that they are conceiving and finding a thematic thread for a feature, not reporting a policy story filled with expert voices only. For example, if the Department of Defense releases data showing that suicides have increased in the military, the student might propose a feature like one published on page 1 of The New York Times in July 2010. It told the story of those working on a suicide hotline to keep anguished members of the military alive. The stories that grow out of this assignment should be substantial in their research and be worthy of between 1,300 and 1,500 words. They will be due in four weeks (Class 2 or Week 6).

By the second class of Week 3 students will be expected to have identified a topic and a way of approaching it that allows each to:

Craft a single-sentence theme statement establishing its focus.
Identify and obtain research-based material that will provide a specific contextual foundation for the story.
Provide at least four sources, with their contact information, and an explanation of why the student has chosen them.
Provide a brief reporting plan.

Class 2: The importance of backgrounding (starting the reporting process)

Too many students mistake reporting for a journalistic version of a police dragnet: They pull in everything they can find and then try to figure out what the story is. Such an approach results in stories riddled with holes and lacking any dominant focus. Reporting always demands lots of legwork. But that legwork must be informed by forethought, which, in turn, is informed by the process of backgrounding. Backgrounding moves a story from the conceptual stage to the point at which a reporter can draw up a well-established working thesis or plan, a focus which, while it might still change, sets the direction of future reporting and writing.

“The good writers I know always do some kind of planning before they report,” writes Blundell.

Part of that planning means to review what’s been written about the topic before, both to find useful information and to see what hasn’t been broached. It means identifying and locating documents to help establish a line of questioning and lend authority to the story. It means identifying different kinds of sources, from the “rabbis,” who point the way but rarely are quoted to “wise men,” who can offer a big picture overview of the landscape; and from authorities who can give the official version of things to what Blundell calls the “street-level” people who live the story and among whom the reporter likely will find a central character.

In this class, students will begin with a discussion of the steps needed to background a story well and then apply those steps to the individual stories they have begun researching. Among the issues that will be discussed are: Where to look for authoritative sources and digital or print documents, how to distinguish between different kinds of sources, and how to use background material to establish a line of questioning, identify potential sources and narrow the story’s focus.

READING/ASSIGNMENT:

Agree with Blundell’s assessment of the theme of the story as expressed on page 116
Find that the story stays tightly focused on the thematic Blundell describes. In each case, students should explain why the agree or disagree.
Continue background work on first feature.

Week 3: Honing the story’s approach

Class 1: Focus or theme statements

Nearly every effective and interesting story is built around a single, dominant theme, using varied types of material to develop it. Writers who fill stories with exhaustive documentation but fail to establish a clear storyline file copy that reads like a government report. Writers who cobble together a series of colorful scenes that are not connected by a clear story spine run the risk of confusing readers to the point at which they will turn away.

The best features engross or entertain readers as they inform them. They offer content, structure and style, or, as Carl Sessions Stepp writes, “typically … share the following three virtues: 1. storyline: a special idea 2. Surprise: compelling material and 3. Stylishness: engaging writing.

To arrive at 2 and 3, the writer must first establish 1, the storyline. “A limited tale well told has more impact and persuasiveness than a sweeping story that can’t be adequately illustrated,” Blundell writes.

It is difficult to write that limited tale, however, unless the reporter sets out on a course to report it. That usually means narrowing and sharpening the story’s concept to the point at which the writer can express it in a clear and specific theme or focus statement. (For example, on page 116, Blundell gives this theme statement for the profile he deconstructs in the same chapter: “My theme statement for this story was simple — the life and work of a real cowboy in an age of cowboy hype.”)

Most serious storytellers would agree with Blundell that writing such a theme sentence must precede the bulk of reporting. This does not suggest the journalist embarks on his reporting with a bias. It suggests he is reporting with purpose. If the reporter finds a better story along the way, he can recast the theme statement. But entering the reporting process without one is like running through brambles instead of along a clearly marked path. The reporter who chooses the brambles may still get to the end, but only with multiple nicks and cuts.

As students sharpen their stories’ themes, they should consider some of the questions Blundell raises in Chapter 4 (assigned earlier). They also might ask themselves these questions, among others:

Is the story’s scope too broad?
Do I have time to report and write a story of the scale I’m proposing?
Am I getting down to street level in my reporting?
Can I establish an element of suspense or anticipation at the outset of the story that isn’t answered until near the end?
Does something happen in the story? Does something change? (Action often informs character and stories are easier to construct if they arrive at a resolution. In his excellent book on narrative nonfiction, Writing for Story , author Jon Franklin notes that the best stories are built around sympathetic characters forced to confront and resolve a conflict or complication in their lives. “A story,” he writes, “consists of a sequence of actions that occur when a sympathetic character encounters a complicating situation that he confronts and solves.”)
Does the story’s contemporary context or its past make it more interesting to tell?

To help internalize the process of writing theme statements, students can be asked to select an article from the Journalist’s Resource web site, to deconstruct it and to craft a single theme sentence that captures its purpose. They then should compare their efforts, either in small groups or a discussion of the entire class.

Class 2: Pitching the story

Students will read their theme or focus statements aloud in class. These will be critiqued by the instructor and class. Using the memos submitted by students, the instructor should work with them to sharpen the focus of their stories and troubleshoot the direction of their reporting.

Reading: Blundell, page 95 (four stages), 126 to 140 and 148 to 152; Zinsser, pages 55 to 58; Stepp, 99 to 101 and 149 to 153.

The first draft of the 1,500-word public affairs feature article described above will be assigned for the second class of Week 5 (in two weeks).
Those students with a weak focus statement will be expected to recast them for the following class.
Students should come prepared to discuss which lead in Appendix 2 of Blundell’s book they consider most effective and why. They also should consider which ending they consider most effective and why.

Week 4: Organizing stories

Class 1: Leads and endings

Journalism textbooks love to categorize lead types. Among the feature leads they’ll list are anecdotal leads , short vignettes that exemplify or show what the main point of the story will tell; scene setters , that paint a picture and create a mood of a place central to a story’s central theme; zingers , short, sharp leads that pull readers in with a quick turn of phrase or sharp contrast; and narrative leads , which foreshadow what’s to come and build suspense without giving away the story’s ending.

Categories aside, though, every lead serves the same purpose and has the same mission: To engage readers immediately and to do so well enough to keep them reading.

Reporters, particularly those writing for newspapers or web sites, don’t have the time or space to luxuriate in the scenes they create. They cannot afford to waste space or words. They must, in the words of E.B. White, “make every word tell.” This is as true in writing features as in writing news. The forms and style change. The mission remains the same.

In his book, On Writing Well , William Zinsser puts it like this: “The most important sentence in any article is the first one. If it doesn’t induce the reader to proceed to the second sentence, your article is dead.”

He notes that leads must not only force the reader to keep reading but that to do so, each sentence must do “real work.” It needs to build on the sentence before, to introduce information even as it entices or draws the reader in.

Leads must do something else: They must be honest. A lead about a shark surfacing a few feet from a swimmer off Cape Cod likely would draw the reader to the next sentence. But if the story had nothing to do with sharks other than they were swimming in the waters near a controversial site where offshore windmills will soon be built, the lead would be deceptive and tangential to the story. A lead must fit the story — in its content, its tone and its direction. Readers will resent the writer who deceives.

The second most important sentence in a good feature is its last. It should leave the reader with a sense of finality or resolution, a strong image, a reminder of the story’s main theme. The best endings both surprise and resonate. This is not the long windup of the college English essay. Students are urged to leave out their editorial opinions and to eschew that dreadful term-paper transition: “in conclusion.” Instead, the best stories stop, sometimes abruptly, often before the reader is quite ready.

When an opening anecdote or scene introduces a broader theme, the writer often circles back or bookends the story to where it began. Stories that return to where they began offer a sense of symmetry, a sense of completion. Other stories end by looking ahead, to the future. Or, in the case of narrative, they reach the solution readers have been seeking since they were enticed into the story in the opening scene.

The best way to learn to write different kinds of leads and endings is to (a) read many writers and take note of their approaches and (b) to try multiple leads and endings to the same story.

In this session, the class should discuss Blundell’s four stages on page 95. The first. “tease me, you devil” is the anecdotal or scene-setter lead of the conventional public affairs feature and, perhaps, the first chapter of the pure narrative. The second stage, “tell me what you’re up to” is the nut graph , the paragraph or two in traditional features that resolves the anecdote before it by telling what it showed and then, by placing it in broader context. The second stage is a theme or focus statement with a bit more muscle on the bone. The third stage, “I’m from Missouri. You’ll have to prove what you just said,” is the story’s middle, its evidence and its story development, often woven together. And the last, “I’ll buy it. Help me remember,” is the ending.

In addition to critiquing the leads and endings in Blundell’s Appendix B, the class, time permitting, might either evaluate how well one piece meets these four stages and/or recast the lead for one of the stories, a means of matching their wits against a master and also, perhaps, proving to themselves that no story has a single right lead.

Reading: Blundell, Chapter 5; Stepp, pages 141 to 149, 182 to 192; 52 to 54

Class 2: Managing the middle

Good organization can’t rectify weak content. That’s why students should start this class by playing close heed to Blundell’s “rule of threes” (page 54), a means of layering strong reporting into story. The author notes that readers need repetition to understand ideas and concepts. But, he adds, that repetition should take different forms. So, for example, if a sentence says the catch of Gulf oystermen has been cut by a third since the BP oil spill, the next sentence should give a specific example, perhaps showing the diminished haul of the story’s main character on a specific day. The third sentence might be a salty quote from that main character on how bad things have become.

Fact, followed by example, followed by quote: That is one application of the rule of threes. Working in tandem, these different kinds of story “proofs” build knowledge and entertain the reader. The rule of threes also can apply to multiple examples from different places. If, for example, new research shows a rise in foreclosures in more states, the reporter might give examples from three of them.

Regardless of their structure, stories work well when like ideas are kept together. Those ideas might be related material, as in the rule of threes, or related themes. A feature about preparations to enforce Arizona’s harsh new immigration law would have one section that looks at the efforts of those interested in enforcing the law and another that examines efforts of opponents to block that enforcement. It would not whipsaw back and forth from one group to the other.

Since we all live by the clock — 24 hours a day, seven days in a week, four weeks in a month, and so forth — writing often works well if at some point it returns to the beginning and progresses to the end. The story, in other words, is organized chronologically . When explanatory passages or sections are needed, writers can step back from this chronological framework by alternating expository “chapters” with the personal narrative ones.

In class, students should analyze Blundell’s story about the loss of farmland in Chapter 5 (it begins on page 103), reviewing not only its structure but the content he musters. Does he apply the rule of threes? In what ways? Does he keep like ideas together? In what way? Contrast this story to the story that begins on page 114. This story relies heavily on chronology for its structure.

Reading: Review Blundell, Chapter 4; Read Stepp, page 72 to 76, 138 to 139

Assignment: Students should come prepared to discuss the following:

William Blundell writes: “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. This territory can be tough on strangers, but we have to go there to gather details and direct experiences that show the reader what we’re talking about.”Students should discuss what he means by this. Blundell further suggests that a good half of reporting can be spent seeking the right person to talk to at that street level. Students should discuss how close to that street level they’ve gotten in their reporting and what else they might do to close the gap.
Students also should consider whether and how they’ve used Blundell’s method of planning and execution to inform their reporting and come prepared to discuss this. Has it helped them? Confused them? Have they applied it or ignored it? Why?

Each student should weigh:

What gaps remain in reporting his or her story.
Whether the reporting has unearthed sound, research-based data at the story’s foundation.
Whether or not the data is recent.
Whether sources interviewed carry authority.
Whether they show a range and balance.
Whether they take the story to street level.

Week 5: Working through the reporting process

Class 1: Reporting at ground level

This class will be run like a newsroom in which the instructor, as editor, coaches students through the latter stages of their reporting process. Students should be challenged to defend their initial theme statement. Does it still stand up? Should it be tweaked in any way? They should be pressed on what data they’ve gathered to support that premise. And they should be asked to explain and, if necessary, defend their choice and breadth of sources.

Reading: Stepp, pages 85-88

Assignment: Each student should craft a two- to three-page memo containing the following:

An updated theme or focus statement
A list of primary points that support that focus, tied, if possible, to Blundell’s six question areas on pages 70-75.
A lead that shows (or, as Blundell says, teases)
A nut graph (or graphs) that establishes the story and summarizes its main point.
A contextual section that places the story into a broader perspective and reinforces its main point
Sections or chapters built around like ideas
Anecdote or scenes interspersed as examples. These support the ideas and reintroduce the main character.
A closing section that circles back to the main character.
An example to support each primary story point.
A summary of research-based evidence that supports the story’s main thesis.
An assessment of what reporting gaps remain and how they might be filled.

Class 2: Outlining the story

Students, working in teams of two, should read each other their revised theme statements (and consult the instructor on an as-needed basis). Teammates should listen as readers and coach as editors. Each should ask his or her teammate to talk through the story. What did he/she find most interesting? What alternative leads has he/she attempted? What gaps does the story have?

After finishing the critiques, each student should:

Read through notes and mark key facts, key quotes and key examples
Fast-draft a rough lead through the nut graph
Identify contextual material that would enhance the story
Order key points/facts that should be in the story
Identify interior scenes that belong in the story
Highlight any information that needs to be verified or double-checked.

In organizing key points, students should remember to keep like ideas together. They should seek examples that support all general statements. Some long-form feature writers work with a master chronology that sets all facts and scenes in a timeline of when they took place. This helps with fact checking and with chronological organization.

Reading: Blundell, Chapter 7; Stepp, 51-57 and 176-192

Week 6: The roots of good writing

Class 1: Using language with style and precision

This class will review the elements of good journalistic writing, from active, right-branching sentences to specificity and simplicity of language. Among the issues instructors might touch on and model are:

The cadence, pace and rhythm of good writing. It should become second nature for students to read their work aloud.
Selective detail and its use. (Using Journalist’s Resource or news web sites, students might look for examples of selective detail that are enhanced by features and examples that detract because they don’t reinforce storyline.)
Specificity versus generality. How does Blundell’s rule of threes ensure specificity?
The use of analogy in translation and definition. (The value of comparing the unfamiliar to what we know.)
The importance of consistency of tone, person, tense and style.

After the discussion, students should draft either a lead anecdote or an interior scene from their stories. Some of these will be critiqued in class.

DUE: First draft of 1,500-word backgrounder or impact feature. Selected stories will be due the night before class so they can be distributed to the entire class in advance.

Class 2: Workshopping first drafts

Selected students should read their stories aloud, discuss obstacles they faced in drafting them, explain how they tried to overcome these obstacles, and identify what they liked best about their stories and what they lacked confidence in. Classmates then will weigh in with their critiques.

Reading: pages 76 and 77 (Blundell’s profile outline) and these stories in his book: pages 44 to 47 and 242 to 248 (personal profiles), 248 to 254 (institutional profile) and 114 to 119 (occupational profile).

Assignment: Students weigh the differences between a profile, a depth interview with a subject and story about their background. What does Blundell mean when he says that profiles, like other stories, need a clear theme? Students also should try to determine some of the ways that Blundell’s outline on page 76 and 77 helped define the structure of his own work.

Week 7: The profile (personal and institutional)

Class 1: Finding a subject, finding a theme, finding out information

Few aspects of journalism are more interesting and challenging than to write about someone else, — to capture what motivates that individual, what makes that person “tick.” Profiles can be written as well about organizations and about what makes them distinctive or unusual. Good profiles demand backgrounding, patience, legwork, independent engagement and curiosity.

First, however, the reporter has to answer the questions, “Whom should I profile and why?” Sometimes those answers can be found in the news: Who has surfaced as an interesting figure? Sometimes the answers can be found in something interesting that a subject does, or doesn’t do (note the profiles in Blundell’s book of the Disney corporation, still living in the shadow of its deceased founder.) Or the answers can be found by looking for someone who exemplifies a larger group or population in the news, a veteran with PTSD, for example. Whomever or whatever the subject, writers don’t merely want to catalogue that individual’s or company’s accomplishments. Corporate biographies and resumes serve that purpose. Profiles dig beneath the surface, capture the subject complete with quirks and blemishes. They help readers understand what makes someone “tick” and what lies behind that person’s passions.

As with other features, backgrounding plays a central role in establishing the profile’s theme. Backgrounding can help the reporter identify how a subject has changed and uncover inherent contradictions between the subject’s words and actions. It allows the writer to separate what has been written about someone from what hasn’t. And it can open doors. For example, when Pulitzer Prize-winner Tracy Breton of The Providence Journal interviewed two actresses co-starring in a theatrical performance, she had done “her homework.” She knew that decades earlier one had understudied for the other, a fact the actresses had forgotten until reminded and one that helped Breton break the ice.

The patience to gather information in varied ways often comes into play in reporting. Profiles require multiple interviews with a subject, preferably in a setting that shows who the person is.

Profiles also benefit from the times the reporter can simply observe. Author Gay Talese, one of the most respected of a generation in the 1960s that experimented with forms of narrative nonfiction storytelling, has written and spoken about “the art of hanging out,” of observing a subject and capturing the scenes that reflect that person’s manner and personality.

To learn about subjects, reporters don’t only interview them and read what they’ve written or what has been written about them. Reporters also interview others who can provide insight — family and friends, competitors and former employees, customers and patients. That’s legwork. Whom they seek out depends largely on what the story’s focus is. A profile of a Las Vegas card shark might lead to the subject’s high school or college math teacher, his mother and his competitors around the table. It likely wouldn’t call for an interview with his former piano teacher or swim coach.

To win a subject’s trust, reporters must show sincere interest in that individual. At the same time, the reporter has to maintain his or her independence. Good profiles reveal some aspect of a subject’s life. They are neither intended to promote nor diminish, simply show the subject as he or she really is.

Finally, reporters must be curious enough to delve beneath the surface. Most people have a public persona and a more private one. The profile writer wants to tap into both.

During this class, students will critique the profiles published in Blundell’s book and the elements of framing, reporting and writing interesting, informative profiles.

Assignment: In teams of three or four, students should research their professor, then draft a tentative focus or theme statement for a profile. It might focus on the professor’s research, a hobby or passion, his or her teaching style, some recent notable achievement (a book, for example) or something else. Teams should prepare to interview the professor “for story” during the next class, developing whatever themes their focus statements outline.

Class 2: Carrying out and critiquing an interview with the professor

A member of each team should read that team’s theme statement and other members should explain how the team decided on its focus. After all teams have finished, students will vote on which story offers the most promise. (Team members cannot vote for their own idea.) When the vote and subsequent discussion are finished, the winning team will interview the professor. Certain rules apply.

Questions cannot be read.
Team members should listen closely to the answer and try to build on each question in their subsequent question.
Students on the other teams, meanwhile, should observe, take notes, and evaluate the content and quality of their classmates’ interview. (They might consider, for example, how well each questioner engages, whether they are asking “open-ended” or “close-ended” questions, whether they are probing for emotion and insight as well as fact, and whether they appeared to be listening and taking cues for follow-up.)

After the interview and discussion about its effectiveness, the class should reflect on what steps would be needed to finish the profile.

Assignment: During the second class of next week, students will be expected to propose a profile subject and submit a theme or focus statement that identifies their approach. They should contact the subjects before preparing their pitches. They should also thoroughly background their subjects and identify at least two other people whom they can interview to develop the story further.

Reading: Article, “The Power of Listening,” Scanlan, Poynter Institute; “Rules to Interview By,” Rubinkowski, Poynter; Zinsser, pages 100 to 116; Stepp, 68 to 72; “Frank Sinatra has a Cold,” a Gay Talese profile, published in Esquire and available in full online. Finally, students should read Anna Quindlen’s essay from The New York Times “Hers” column on April 10, 1986. It begins with the words, “For most of my adult life, I have been a emotional hit-and-run driver, that is, a reporter.” The essay is an excellent starting point for a discussion of the ethics of depth reporting and interviewing.

Week 8: Interviewing for story

Class 1: Logistical and ethical considerations in interviewing for story

Successful interviews start with strong preparation and curiosity. Reporters who know next to nothing about their subject, who seem bored or hurried, who work off a set list of questions instead of listening to answers, who seek facts rather than knowledge or understanding, will leave with little.

Jacqui Banaszynski, a Pulitzer Prize-winning reporter and now a Knight professor at the University of Missouri, says at times the most effective question can be a sympathetic nod or an interjection, such as “really.” This keeps the subject talking. Granted. It is not wise to start an interview this way. But often reporters are so intent on their questions that they don’t hear the answers and don’t encourage subjects to say more, to elaborate.

The first step in interviewing for story is to choose the right setting, a place that shows something about the subject and a place in which the subject feels comfortable. Then, says Banaszynski, the reporter’s job is to “peel back the layers of the onion,” to get to the story behind the story, to engage the real subject not the public persona. This takes time, patience, lots of directed yet open-ended questions, and genuine interest in what the subject has to say. Bored reporters conduct boring interviews.

It’s no small matter for a green reporter to park the jitters before knocking on the door. Several things help:

Know as much as possible about the subject beforehand.
Prepare questions in advance, but never read them. Preparation helps the reporter think through the interview’s purpose. Their questions shouldn’t be obvious — or left sitting on the table.
Ask permission to tape as well as take notes. It can ease the anxiety of keeping up. But do take notes, listening for details and quotes and hints that bear follow-up.
Ease in with questions that relax the subject and establish rapport. The props of setting can help. Ask why the subject has chosen a particular meeting place. Comment on pictures on the wall.
Listen. The reporter’s job is not to ask brilliant questions but to get brilliant answers.

This class discussion should focus on the techniques and pitfalls of interviewing for story. It is a skill that requires instinct and humanity as well as thoughtful preparation. (Banaszynski describes it as a dance in which the reporter must lead, but the interview subject gets to choose the music.)

At times reporters don’t get the opportunity to interview a profile’s central character. Such was the case in Talese’s “Frank Sinatra Has a Cold.” Students should discuss how Talese compensated for this.

This session should end with a discussion of Quindlen’s essay. What are the ethical dilemmas raised by interviewing for story and emotion as well as for information? What are the ethical responsibilities of the reporter in setting out on a project that will involve considerable revelation on the part of the subject (for example, a profile of a family caring for an Alzheimer’s patient)?

Assignment: Students should prepare a memo for pitching their profiles, which should be roughly 1,500 words in length. The memo should include:

A theme or focus statement
Key background information about the subject.
Key contacts and contact information for the subject and other people the student will interview to gain insight.
A few reflective paragraphs considering the story’s approach in the context of Blundell’s story development criteria on pages 76 and 77.

Class 2: Pitching profile ideas

Students will read their theme statements aloud and explain why they’ve proposed specific profile approaches. Students and instructor should react to each theme statement and offer constructive criticism. Those students lacking clear themes will be expected to recast their theme statements for the following class.

Week 9: The writer’s voice

Class 1: How voice emerges

Inexperienced writers frequently make the mistake of approaching “voice” as something that can be superimposed. They overwrite, laboring to create something that neither sounds like them nor reflects their style. In On Writing Well , Zinsser cautions that his students seem determined to “create an act of literature,” only relaxing paragraphs into a story to emerge as themselves.

Students should rest assured. For the writer who reads widely and writes frequently, voice emerges naturally over time. It is not a construct of big words and fancy phrases, nor is it an affected effort to sound carefree and breezy. It is not a celebration of the writer’s opinion. It comes from within, something akin to a slightly more polished version of the writer’s spoken voice.

Writes Stepp: “Voice probably comes more naturally than most writers believe. Many writers describe the struggle to ‘find’ their voice, but most writers’ voices will emerge spontaneously if they just clear away some of the obstructing professional underbrush: the artificial constraints, expectations, and hobgoblins that haunt many newsrooms, writing studios, and writer-editor collaborations. Writers who are steeped in good material, relaxed and enthusiastic about their assignment, comfortable in their surroundings, and encouraged to be original and inventive do not have to find a voice It rings out intuitively.”

In this class, students should discuss what concerns they have about voice and how they believe they should and have gone about developing it. They should then take a scene or section of their revised first features and write through it as they might tell a friend. The class should listen to a few of these and critique them.

Class 2: Workshopping the revised first feature

The instructor should identify two or three students who will be asked in advance to distribute their work to the class. They should read their stories aloud in class, be given the opportunity to discuss what worked for them and where they struggled. Then classmates should weigh in with a discussion of these stories, starting with what they liked best and then making suggestions for improvement.

Week 10: Working through the reporting process

Class 1: Sharpening the story’s angle and content

Both classes in this week largely replicate the critiquing and outlining goals set in Week 5, with the instructor acting as coach to shepherd students through the latter stages of their reporting process.

Students should be asked whether their initial focus holds up; what facts, examples, quotes and scenes they have to support it; who they’ve interviewed (in addition to their profile subject) and what these individuals have to add. Much class time will be spent troubleshooting obstacles to reporting.

Each student should craft a two- to three-page memo containing the following:

A brief summary of key details, anecdotes and examples that give support to the theme.
A structural design for the story (at some point within most profiles, the writer moves chronologically through at least a portion of the subject’s life)
A summary of key insights into the subject provided by other sources.

Class 2: Building an outline

Week 11: Workshop profile drafts

The instructor should keep a list throughout the semester of which students have read their work in front of the class. All students should have their work subjected to class-wide critique before any individual is given a second opportunity.

Class 1: Workshop profile drafts

Assignment: Bring a local newspaper and The New York Times to the next class.

Class 2: Finding stories off the news

Reporters need to be nimble. The best, it is said, can “speed” as well as “bleed.” The feature writer often does not have the luxury to report and write depth public affairs stories. She’s given a day to find, report and write a story, not a week or two. This places even more weight on the challenge of conceiving something interesting and narrowing its scope. Writing stories on deadline can be a high-wire act. The reporter must gather fact and push for scene, show patience and interest in interview subjects yet race the clock, write and revise, but on the same afternoon.

Next week, the class will be expected to pitch and then write a feature off the news in the two to three days between classes. This class is designed to help students identify stories off the news.

Asking a number of questions of the news can help:

Who is left out?
Who is affected? How?
What’s behind the news? (An 85-year-old becomes a citizen or graduates. Why?)
How does the past inform the story? (The calendar and unusual anniversaries suggest stories daily.)
What led up to the news?
What’s the reaction to the news? (Blundell’s moves and counter-moves.)
Who is the person behind the newsmaker?
How can the reporter localize a national or international event?
Do a number of similar actions — beaches closed for a high bacteria count — constitute a trend?
Can the reporter show this, or other developments, by taking readers to a place?

In teams, reporters should scour the day’s paper, drawing up and prioritizing a list of possible features that might be turned quickly. The class will critique and respond to each team’s ideas.

Assignment: Background and write theme statements for two stories off the news. Students will be assigned one during the next class to turn in 48 hours.

Week 12: Pouring it on

Class 1: Pitching the feature off the news

In this class, the instructor should coach students toward features they can reasonably report and write in a day or two. This discussion should reinforce the importance of ingenuity and scope in turning features fast.

Class 2: Workshop features off the news

This class should begin with a discussion of the challenges of turning features fast. As time permits, students should workshop these efforts.

Week 13: Finding a niche

Class 1: Researching publications, framing queries

The topsy-turvy pace of technological changes makes this an extraordinary time to start a career in journalism. In some ways, it has never been easier to be published: Register for a blog at WordPress or Blogspot and write. It’s that easy. In other ways, it’s rarely been harder to get noticed and paid. Students interested in doing serious journalism should pursue a few parallel paths. Even in college, they can begin building their “brand,” a word that still makes older journalists shudder (their job was to cover the news, not market themselves or be the news). Students can build brand by building a website, preferably one named after them. This should be linked to blogs, a Facebook account, Twitter accounts, a resume and examples of their writing that they hope someone significant in the world will visit and read.

If today’s journalism students should act aggressively in asserting a voice and marketing their work, they also should be smart and circumspect about what they post. Too many horror stories circulate today about students denied jobs because of ill-advised party pictures posted on social media accounts. As a rule of thumb, students should sleep on anything they are tempted to post in the glow of the moment.

Marketing freelance work has been streamlined in the digital age. Most newspapers and some magazines today prefer emailed query letters pitching an article to letters sent by post.

Again, however, speed can kill rather than enhance. Sizable percentages of pitches never make it past the first gatekeeper (often an intern) for a variety of reasons:

A misspelled name
A letter sent to the wrong editor
A letter sent to the right editor at the wrong publication
Grammatical errors
Spelling errors
Ill-conceived or boastful ideas
Efforts to negotiate price before a piece is sold
Offers to write for free

Once again in journalism, the query begins with research. Reporters need to research not only stories and story ideas but which publications serve an audience that would read them. They can learn a great deal about publications, their freelance guidelines and their freelance rates in the library’s most recent edition of Writer’s Market or by subscribing online to WritersMarket.com.

As a rule, query letters should be a single page long. At their best, they show a writer’s talent and sell a clearly conceived and substantive story that fits the publication’s style and audience.

The query’s first paragraph tries to hook the reader very much like the first sentence of a feature does. This, however, is not the place for elegant anecdotes. It is best to settle for a quick turn lead, one that grabs the reader’s attention. The second paragraph pitches the story’s particulars. How long is the piece the writer is proposing? How will it develop? What’s its purpose? The third paragraph introduces the writer and answers the question “why me — why this writer?” This is where writers talk about special qualities — expertise, access to the subject, experience. The final or closing paragraph makes clear that the writer will follow up.

The entire letter should be businesslike. Pleading or begging editors for a chance does not work. One more tip: Always call the publication before sending a query to check whether an editor still works there, what the editor’s title is, and how to spell his or her name.

In addition to discussing queries, instructors should consider inviting in a local newspaper or magazine editor to talk about the queries they’ve received, which queries they liked and which ones they discarded immediately. Such visits give students a chance to network, a significant aspect of building a niche.

Assignment: Students should research a publication to which they will pitch one of their articles from the semester. They should come to the next class knowing the appropriate editor’s name and title, the submission guidelines of the publication, and the nature of the articles it publishes.

Class 2: Writing and revising the query

Students will spend this class crafting and revising query letters for one of their stories from the semester. In most cases, these should be ready to email to the publication by the end of class.

Exam week: Revised profiles are due

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About The Author

The Journalist's Resource

7 examples of engaging feature stories

panning photography of flying blue, yellow, and red hot air balloon

Kimberlee Meier — Contributing Writer

There are two dominant trends in content on the web today.

The first is that content is getting shorter. With the rise of TikTok and the ongoing importance of other social media platforms, brands need to be adept at producing shortform content.

But the second dominant trend — forgive the contradiction — is that content outside of social media is actually getting longer. As we explain in our guide to longform content , media and marketing teams are increasingly investing in longer, professionally produced content to capture and keep their reader's attention.

The main type of longform content they are investing in is the feature article or feature story. Following the lead of major news publications, these teams are creating truly engaging and immersive multimedia content.

Take, for example, Los fogones de la Kitchen . This illustrated news story from El Periódico covers an illegal operation to spy on a Spanish politician. With animations triggered by the scroll of the reader, it is an interactive and powerful example of modern feature storytelling.

Screenshots from an illustrated feature story from El Periodico

What do the BBC, Tripadvisor, and Penguin have in common? They craft stunning, interactive web content with Shorthand. And so can you! Publish your first story for free — no code or web design skills required. Sign up now.

In this guide, we're going to run through 7 examples of feature stories to inspire your own content strategy. These examples are informative, entertaining, and visually appealing—just what a brand needs to keep people’s attention.

We'll also cover what goes into creating a great feature story, and how to learn from those who are doing them well.

Ready to learn how to create captivating feature stories of your own? Let's get started.

What is a feature story?

A feature story is a piece of longform non-fiction content that covers a single topic in detail. Examples of feature stories include news features, in-depth profiles, human interest stories, science communication , data storytelling , and more.

Feature stories are a common type of content for news organisations, particularly those who invest in longform journalism .

Increasingly, brands are also investing in producing their own high-quality feature stories. One example comes from analytics company RELX, who published a powerful overview of the purpose behind their Eyewitness to Atrocities app.

Screenshot of RELX's feature story on bringing war criminals to justice

How are feature stories changing?

A decade ago, most feature stories on the web were visually uninteresting. Usually, they would be digital versions of print articles, with the same images and copy.

With recent improvements in internet speed and browsers — coupled with the rise of more advanced content creation platforms — we're seeing a dramatic increase in visually immersive multimedia feature articles.

These stories use a combination of high-resolution, full-bleed images, video, illustrations, and scrollytelling to sustain the attention of digital readers. Often, these stories are created with digital storytelling platforms , which are empowering feature writers to create stunning interactive content without writing a line of code.

Now, let's dive into our examples👇

7 examples of stunning feature stories

1 Arab News

When Arab News decided to showcase Saudi Arabia's UNESCO's World Heritage sites, a standard longform article wasn’t going to cut it.

So, the news agency decided to tell it as a feature story powered by digital elements like maps, video, historical pictures, and illustrations.

Each of the five UNESCO sites located in Saudi Arabia is given its own section. This room allowed Arab News the room to explain, in detail, the history of each site and what it looks like today.

Although the piece is long, it does give the UNESCO sites the space and in-depth reporting to turn this into a stunning example of a feature story.

Screenshots from a Arab News feature story on Saudi Arabia's heritage treasures

In the 1930s, America's Federal Government enacted redlining policies that segregated Black and white citizens with homeownership.

Despite the Supreme Court ruling in 1948 that racial bias in deed restrictions was illegal, Detroit remains one of the most segregated cities in the country. To tell this important story, NBC News created an immersive and interactive feature story out of images and video to showcase the issue of segregation in modern Detroit.

The mix of data, visuals, video, and interviews with citizens who grew up in segregated neighborhoods make this feature story a compelling read.

Screenshots from NBC feature story on the segregation of Detroit.

3 Pioneers Post

In the race to combat climate change, the citizens of Gambia—one of Africa's smallest countries—realised that the clock is ticking.

So, the locals and family farmers living on the north bank of the Gambia river took matters into their own hands and created plans to reforest an 8,000km stretch of land.

Not only does this Pioneers Post feature story do a fantastic job at highlighting the plight of the villagers and their project to revive the environment, but it also explains the impact of global warming on their area with maps and visuals.

Screenshots from Pioneers Post feature story on climate change

4 Hoover Institute

As a society, we are fascinated by each other's cultures. And more often than not, governments are involved in telling stories about what those cultures look like.

Women in Chinese Propaganda by the Hoover Institute takes a deeper look at how the Chinese Communist Party (CCP) depicted women in the early days of its regime. Using a mix of illustrations, history, and interactive features, the reader is plunged into the story the regime told the world about how its women lived in the 1950s.

The feature story also talks about the ties the propaganda has to cultural products, like plays and operas, as well as how marriage was depicted in the early days of the CCP.

Screenshots from the Hoover Institute feature story on Chinese propaganga

Join the BBC, Unicef, and Penguin. Publish stunning, interactive web content with Shorthand. Publish your first story for free — no code or web design skills required. Get started.

5 BBC

When an apartment building in La Villeneuve, France, caught fire in 2020, two children were trapped in the inferno.

As villagers watched on, the scene grew desperate—until a group of local citizens came up with a solution: the children would jump, and the citizens would catch them.

The BBC detailed the events of that day and accounts of the hero citizens who saved the children's lives in their interactive feature story, The Catch .

Using a mix of illustrations, photographs, and interviews from people involved in the life-saving rescue, the feature story succeeds in putting the reader inside the events that unfolded.

The story paints an uncomfortable truth: just ten days after the French President called for some foreign-born residents to be stripped of their citizenship—immigrants were rescuing children.

Screenshots from BBC feature story on the rescue of migrant children

6 WaterAid

Another feature story focusing on climate change, WaterAid tells the story of people facing harsh environmental conditions in Malawi, Africa.

The story digs deep—using full-screen photographs, statistics, and quotes from climate change scientists about the changing environment for the people living there. WaterAid is using this piece to encourage people to fight climate change. So, it's fitting that the piece ends with a simple ask: Join #OurClimateFight .

Screenshots from Water Aid feature story on climate change

7 Sky News

The final feature story on our list is Sky News' celebration of WNBA's 25th season.

The story, From ‘We Got Next’ to ‘Next Steps' , has a tonne of embedded items to keep the reader interested. Sky News uses a mix of embedded Tweets, photographs, and videos to showcase WNBA's history from those who have been part of it.

And like the Water Aid feature story, Sky News wraps its piece up by adding a call-to-action, encouraging readers to follow the WNBA's progress on its YouTube and cable television channels.

Screenshots from Sky News feature story on the WNBA at 25

Ready to start creating your own amazing feature stories?

Content creators and news agencies have stepped up their storytelling game and are going above and beyond to capture (and keep) their audience's attention.

Slapping a 3000-word story into WordPress isn't enough to keep your reader engaged anymore (no matter how interesting the topic is.) Thanks to the rise of social media platforms like Instagram, TikTok, and Twitter, users now expect feature stories to be more engaging and capture their imagination.

The good news is that creating these stories no longer means you have to learn how to code or hire an (expensive) developer. Content creators can build exciting, in-depth feature stories that embed elements like images, data illustrations, videos, and social media feeds using a tool like Shorthand.

So, what are you waiting for—are you ready to start creating stories that will take your readers on a journey?

Kimberlee Meier is a B2B/SaaS Content Writer who also helps start-ups fuel their growth through quality, evergreen content.

Publish your first story free with Shorthand

Craft sumptuous content at speed. No code required.

How to Write a Feature Story: Step-By-Step

This article gives a step-by-step process that can be used when writing feature articles. Read more and learn how to write a feature story effectively.

Feature stories are long-form non-fiction news articles that go into detail on a given topic. The most common type of feature stories are human interest stories, interviews and news features.

All of the best feature writers know that their articles live and die on the information that is detailed within the story. However, it requires more than just quality research to create a strong feature article.

You also need to understand how to get the reader’s attention from the first paragraph, as well as how to format the body of the article, and how to write a strong conclusion. It also helps if you have a flair for creative writing, as the style involved isn’t as rigid as traditional news stories.

If all this sounds complex, then don’t fret. There is a step-by-step process that can be used when writing feature articles.

Before we share that template, let us first take a quick look at a few of the different genres of this type of story format.

1. Human Interest

2. news features, 3. lifestyle features, 4. seasonal features, 5. interview pieces, 6. color stories, 7. profile features, 8. behind the scenes, 9. travel features, 10. instructional features, something completely different, steps for writing a feature writing, 1. evaluate your story ideas, 2. do your research, 3. decide the type of feature you want to write, 4. select an appropriate writing style, 5. craft a compelling headline, 6. open with interest, 7. don’t be afraid to be creative, writing a feature story: the last word, 10 different types of feature articles.

As the title suggests, when writing human interest stories, the focus is on people. There is usually a strong emphasis on emotion within these stories.

These feature stories can involve a personal goal, achievement, or a dramatic event within someone’s (or a group of people’s) life.

It can also just be a general story about the trials and tribulations of everyday life.

Examples: ‘The leather jacket I bought in my 20s represents a different woman. I just can’t let it go’, ‘I wish I had Rami Malek as a role model growing up – I was stuck with the Mummy’.

News features are probably the most common type of feature article. Within these, there is a strong emphasis on a current event, with the story explaining the reasons behind these events.

They may also go on to examine the implications behind the news stories.

Examples: ‘Eastern Europe’s business schools rise to meet western counterparts’, MBA by numbers: Mobility of UK graduates’.

How to Write a Feature Story: Lifestyle Features

Lifestyle features usually centre around life and how it can be lived better. For instance, an example of a lifestyle feature would be ‘Six Workouts You Have to Try This Summer’, or ‘Why You Need To Try Meditation’.

Lifestyle features are common within magazines.

Example: Six ways with Asian greens: ‘They’re almost like a cross between spinach and broccoli’ .

These feature articles are specific to certain times of year.

If you work within a newsroom, it is likely that they will have a calendar that schedules the times when certain types of features are due to be written.

One of of the advantages of these types of features is that you can plan them in a way you can’t with typical news stories.

Examples: ‘ 5 Ways to Celebrate the Holidays With The New York Times ’, The Start of Summer .

Interview features have commonalities with other types of features, but are set apart as they are centred around a single interview.

A good way to strengthen this type of article is to share background information within the it. This information can be either on the interviewee, or the subject that is being discussed.

Examples: Mark Rylance on ‘Jerusalem’ and the Golf Comedy ‘Phantom of the Open’ , ‘I Deserve to Be Here’: Riding His First Professional Gig to Broadway

This is a feature that breaks down the feel and atmosphere of a hard news story.

They often accompany news writing.

Good feature writing here will help the reader imagine what it was like to be a at a certain event, or help them gain further understanding of the issues and implications involved of a story.

Examples: ‘ Why the Central African Republic adopted Bitcoin ’, ‘Admissions teams innovate to find ideal candidates’ .

A profile feature is like a mini-biography.

It tries to paint a picture of a person by revealing not only facts relating to their life, but also elements of their personality.

It can be framed around a certain time, or event within a person’s life, It can also simply be a profile detailing a person’s journey through life.

Examples: Why Ray Liotta was so much more than Goodfellas , Sabotage and pistols – was Ellen Willmott gardening’s ‘bad girl’?

These are features that give readers the inside track on what is happening.

They are particularly popular with entertainment journalists, but are used by feature writers within every sphere.

Examples: ‘‘You Just Have to Accept That Wes Is Right’: The French Dispatch crew explains how it pulled off the movie’s quietly impossible long shot ’. ‘The Diamond Desk, Surveillance Shots, and 7 Other Stories About Making Severance’.

How to Write a Feature Story: Travel Features

As you probably guessed, a travel feature often features a narrator who is writing about a place that the reader has an interest in.

It is the job of the writer to inform their audience of the experiences, sights and sounds that they can also experience if they ever visit this destination.

Examples: ‘ Palau’s world-first ‘good traveller’ incentive ’, ‘An icy mystery deep in Arctic Canada’.

‘How to’ features will always have their place and have become even more popular with the advent of the internet phenomenon known as ‘life hacks’. There is now a subsection of these features, where writers try out ‘how to’ instructional content and let the reader know how useful it actually is.

Interestingly, you don’t have to go far to find an instructional feature article. You are actually reading one at the moment.

Example: The article you are reading right now.

Of course, the above is just an overview of some of the types of features that exist. You shouldn’t get bogged down by the idea that some feature types interlope with others.

Feature writing is a dynamic area that is constantly evolving and so are the topics and styles associated with this type of writing.

If you have an idea for something completely different, don’t be afraid to try it.

Now we covered some of the main types, let’s take a look at the steps you should take when planning to write a feature article.

It sounds obvious, but the first step on the path to a good feature article is to have a strong idea. If you are struggling for inspiration, then it may be worth your while checking out popular feature sections within newspapers or websites.

For instance, the New York Times is renowned for its wonderful ‘Trending’ section , as is The Guardian , for its features. Of course, these sites should be used only for education and inspiration.

In an instructional feature article, online learning platform MasterClass gives a good overview of the type of research that needs to be done for this type of article.

It states: “Feature stories need more than straight facts and sensory details—they need evidence. Quotes, anecdotes, and interviews are all useful when gathering information for (a) feature story.”

The article also gives an overview of why research is important. It reads: “Hearing the viewpoints or recollections of witnesses, family members, or anyone else… can help (the article) feel more three-dimensional, allowing you to craft a more vivid and interesting story.”

Feature articles may involve creative writing, but they are still based on facts. That is why research should be a tenet of any article you produce in this area.

Shortly after starting your research, you will be posed the question of ‘what type of feature do I want to write?’.

The answer to this question may even change from when you had your initial idea.

For example, you may have decided that you want to do a lifestyle feature on the physical fitness plan of your local sports team. However, during research, you realized that there is a far more interesting interview piece on one of the athletes who turned their physical health around by joining the team.

Of course, that is a fictional scenario, but anyone who has ever worked within a newsroom knows how story ideas can evolve and change based on the reporting that’s done for them.

The next step is to consider the language you will be using while writing the article. As you become more experienced, this will be second nature to you. However, for now, below are a few tips.

When writing a feature, you should do so with your own unique style. Unlike straight news stories, you can insert your personality and use emotive language.

However, you should avoid too many adjectives and adverbs and other overused words . You should generally refer to the audience as ‘you’ too.

To learn more, check out our article about the best style guides .

As you can tell from the examples listed above, a good feature usually has a good headline/ header. If you are lucky enough to work in a newsroom with a good subeditor, then they will work with you to decide an eye-catching headline.

However, most of you will have to pick your features’ header on your own. Thus, it’s worth giving some time to consider this stage of the process.

It is handy to take a look at Matrix Education’s tips for creating a catchy headline.

They are as follows:

Use emotive language.
Keep it short and snappy.
Directly address the reader.
Use adjectives / adverbs.
Tell readers what your content is about.
Ask a question.
Give an imperative.

These are, of course, only options and they all shouldn’t be utilized at once.

Another suggestion that can be added to the list is grabbing an intriguing quote from the story and using that within the header.

Your opening paragraph should draw the reader in. It is important that you can hook them here; if you can grab them at the start, they are far more likely to go deeper into the article.

Methods of doing this include the building of tension, the posing of a rhetorical question, making an outlandish statement that is proven true later in the article, or working your way back from a monumental event that the reader is already familiar with.

Whichever you use, the primary goal should be to catch the reader’s interest and to make them want to read on.

If you need help, start with writing a five-paragraph essay .

Jean-Luc Godard said that “a story should have a beginning, a middle and an end, but not necessarily in that order”.

That statement can be somewhat applied to feature articles. However, don’t be afraid to take risks with your writing. Of course, it is important to share the information you need to share, but a feature article does offer far more room for creativity than the writing of a traditional news story.

8. Leave With A Bang

All the best feature writer leave a little something for the reader who reaches the end of the article. Whether that is a storming conclusion, or something that ties it all together, it is important that there is some sort of conclusion.

It gives your audience a feeling of satisfaction upon reading the article and will make this is the element that will make them look out for the articles that you will write in the future.

The above steps don’t necessarily need to be followed in the order they are written. However, if you are new to this type of writing, they should give you a good starting point as when creating feature articles.

When writing feature articles, you will find a style and a voice that suits you. This is a type of journalistic writing where you can embrace that creative side and run with it.

What is a feature story example?

Jennifer Senior won the Pulitzer Prize for feature writing for an article entitled ‘What Bobby McIlVaine Left Behind’, an article about the human aftermath of grief after 9/11. It is an excellent example of a quality feature article.

What is the difference between a feature story and a news story?

There are several differences between a feature article and a news story.

Firstly, news articles are time-sensitive, whereas there is more flexibility when a feature can be published as it will still be of interest to the public.

Secondly, feature stories are usually more long-form than news stories, with differences in style employed in both. For instance, news writing often employs the inverted pyramid, where the most important information is at the start. Whereas, feature writing has a tendency to tease out the information throughout the article.

Lastly, the ending of a news story usually happens when all the relevant and available details are shared. On the other hand, a feature story usually ends with the writer tying up the loose-ends that exist with an overall conclusion.

Bryan Collins is the owner of Become a Writer Today. He's an author from Ireland who helps writers build authority and earn a living from their creative work. He's also a former Forbes columnist and his work has appeared in publications like Lifehacker and Fast Company.

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Feature Writing

Updated on
Feb 7, 2024

Feature Writing is a literary and critically recognised form of writing in Journalism . It involves writing featured articles on trending topics, great personalities and relevant issues. This form of writing is generally longer than a specific news story and more informative. Feature writings are used extensively in magazines, newspapers and online media. It covers a story in great depth and is intended to captivate the audience’s attention to a specific cause by looking at the story from a different angle. Did you know there is a Pulitzer Prize for Feature Writing? Keep reading to learn more about feature writing and how to craft the best feature.

This Blog Includes:

What is the difference between a news story and a feature story, feature writing – the applause formula, different types of feature writing, style and objective of feature writing.

People are often confused between a news story and a feature. Here are some basic differences between the two:

While a news story usually covers recent or breaking news, feature writing can be issue-specific and might not be recent.
A news story summarises the story whereas a feature focuses on anecdotal references.
A feature contains many angles and sources whereas on the contrary, a news story general is from a single source or angle.
If we compare the structure of the forms of writing, the news story follows an inverted pyramid structure while feature writing has a flexible structure and can take a linear/non-linear scale. The conclusion forms a very important part of the feature.

For instance, recent news can be covered in a news feature and it can abandon the inverted pyramid structure to cover a human interest story using more detail and emotion.

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DPI-840M: Feature Writing

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This intensive module provides a thorough grounding in the techniques of journalistic feature writing: researching, reporting, interviewing, writing — and revising. We investigate where good feature ideas come from; we explore how to conceptualize, organize, and structure those ideas through journalistic narrative; and we experiment in a collaborative workshop environment with several journalistic forms — the profile, the reported essay, the “trend” piece. Students will gain proficiency in the techniques of journalistic feature writing, skills that are relevant to other forms of writing, too, including academic and policy writing.

Each course in the DPI communications series assumes fluency with the English language. Attendance at first class mandatory.

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Feature Writing

Feature Writing - Essay Example

Subject: Journalism & Communication
Type: Essay
Level: Undergraduate
Pages: 5 (1250 words)
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Extract of sample "Feature Writing"

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Profile about the life and beliefs of amanpreet gill, a young girl who was born west bengel, india, refer to attachments ( feature writing), feature writing and journalism, how globalization affects small businesses, basic elements of a photo, feature writing for texting while driving, changes in future writing as journalism goes online, nature of criticism.

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Narrative Essays

Narrative: The spoken or written account of connected events; a story

Narrative Introductions

The introduction of a narrative essay sets the scene for the story that follows. Interesting introductions—for any kind of writing—engage and draw readers in because they want to know more.

Since narratives tell a story and involve events, the introduction of a narrative quite often starts in the middle of the action in order to bring the reader into the story immediately, as shown in examples 1, 3, and 5 below. Other effective introductions briefly provide background for the point of the story—often the lesson learned—as in 4 below and the first example on the reverse side.

Below are some strategies for writing effective openings. Remember your introduction should be interesting and draw your reader in. It should make your audience want to read more. If it's a person , begin with a description of the person and then say why that person mattered. If it's an event , begin with the action or begin by reflecting back on why the event mattered, then go into the narrative.

"Potter...take off!" my coach yelled as I was cracking yet another joke during practice.
Why do such a small percentage of high school athletes play Division One sports?
It was a cold, rainy night, under the lights on the field. I lined up the ball on the penalty line under the wet grass. After glancing up at the tied score, I stared into the goalkeeper's eyes.
My heart pounds in my chest. My stomach full of nervous butterflies. I hear the crowd talking and names being cheered.
Slipping the red and white uniform over my head for the first time is a feeling I will never forget.
"No football." Those words rang in my head for hours as I thought about what a stupid decision I had made three nights before.
"SNAP!" I heard the startling sound of my left knee before I ever felt the pain.
According to the NCAA, there are over 400,000 student-athletes in the United States.

Narrative Story

Unified: Ensure all actions in your story develop a central idea or argument.
Interesting: Draw your readers into your scene(s), making them feel as if they're experiencing them first-hand.
Coherent: Indicate changes in time, location, and characters clearly (even if your story is not chronological).
Climactic: Include a moment (the climax) when your ending is revealed or the importance of events is made clear.
Remember the 5 W's : Who? What? When? Where? Why?
Write vividly : Include significant sensory information in the scene (sight, sound, touch, smell, taste) to make readers feel they are there
Develop " Thick Descriptions "

Clifford Geertz describes thick descriptions as accounts that include not only facts but also commentary and interpretation . The goal is to vividly describe an action or scene, often through the use of metaphors, analogies, and other forms of interpretation that can emote strong feelings and images in your readers' minds.

"The flatness of the Delta made the shack, the quarters, and the railroad tracks nearby seem like some tabletop model train set. Like many Mississippi shacks, this one looked as if no one had lived there since the birth of the blues. Four sunflowers leaned alongside a sagging porch. When the front door creaked open, cockroaches bigger than pecans scurried for cover [...] walls wept with mildew."

—from Bruce Watson's Freedom Summer

Narrative Checklist

Does the story have a clear and unifying idea? If not, what could that idea be?
If the story doesn't include a thesis sentence, is the unifying idea of the story clear without it?
Is the story unified, with all the details contributing to the central idea?
Is the story arranged chronologically? If not, is the organization of ideas and events still effective and clear?
Do the transitions show the movement from idea to idea and scene to scene?
Are there enough details?
Is there dialogue at important moments?
Is there a climax to the story—moment at which the action is resolved or a key idea is revealed?

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Grade 5 English Module: Writing a Three-Paragraph Feature Article

This Self-Learning Module (SLM) is prepared so that you, our dear learners, can continue your studies and learn while at home. Activities, questions, directions, exercises, and discussions are carefully stated for you to understand each lesson.

Each SLM is composed of different parts. Each part shall guide you step-by-step as you discover and understand the lesson prepared for you.

Pre-tests are provided to measure your prior knowledge on lessons in each SLM. This will tell you if you need to proceed on completing this module or if you need to ask your facilitator or your teacher’s assistance for better understanding of the lesson. At the end of each module, you need to answer the post-test to self-check your learning. Answer keys are provided for each activity and test. We trust that you will be honest in using these.

Please use this module with care. Do not put unnecessary marks on any part of this SLM. Use a separate sheet of paper in answering the exercises and tests. And read the instructions carefully before performing each task.

A feature article is a creative article that deals with real events, issues, and trends. It offers insights about people, places, things, or events that we encounter daily but to which we pay little attention. It often exposes human emotions or feelings and while focusing on the most interesting, not necessarily the most important, part of the story.

In this module, you will learn to:

identify the types of feature article;
write a three-paragraph feature article;
appreciate the importance of writing a feature article.

Grade 5 English Quarter 4 Self-Learning Module: Writing a Three-Paragraph Feature Article

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The Causes of Dyslexia: Neurological and Genetic Factors

This essay about dyslexia explores its nature as a learning anomaly affecting reading, writing, and spelling abilities. It discusses the genetic and neurological factors contributing to dyslexia, such as familial clustering and brain structural differences. Phonological processing deficits are highlighted as a key aspect, impacting word identification and decoding. Additionally, environmental factors can exacerbate dyslexic challenges. Understanding the complex interplay of these factors is crucial for effective intervention and support for individuals with dyslexia, facilitating academic and personal success.

How it works

Dyslexia, a distinct learning anomaly, impairs an individual’s capacity for reading, writing, and spelling, despite normative cognitive abilities and educational access. This neurodevelopmental anomaly manifests as impediments in phonological processing, rendering word identification and decoding arduous tasks. Though widely documented and affecting millions globally, the precise etiology of dyslexia remains a subject of intensive inquiry. Current investigations suggest a multifaceted interplay of genetic and neurological determinants.

Genetics assumes a pivotal role in dyslexia’s genesis. Evidence underscores familial clustering of dyslexia, indicating a hereditary predisposition.

Twin analyses, comparing dyslexia prevalence in identical versus fraternal twins, evince higher concordance rates in identical twins, underscoring genetic influence. Identified genetic loci, such as DCDC2 and KIAA0319, implicated in neuronal migration and cerebral maturation, augment risk rather than guarantee dyslexia onset, highlighting its multifactorial nature.

The neurobiological underpinnings of dyslexia revolve around structural and functional cerebral disparities. Neuroimaging unveils divergences in brain architecture and activation patterns between dyslexic and non-dyslexic cohorts. Notably, reduced left hemisphere engagement, especially in parietotemporal and occipitotemporal domains during reading tasks, characterizes dyslexic cohorts. These regions, pivotal for phonological processing and lexical recognition, elucidate the reading impairments inherent in dyslexia. Furthermore, structural aberrations, like diminished gray matter volume, implicate neural circuitry efficiency and connectivity in reading processes.

At the crux of dyslexia lie phonological processing deficits. Phonological awareness, vital for fluent reading, pertains to discerning and manipulating word sound structures. Dyslexic individuals grapple with segmenting words into phonetic constituents, impeding symbol-sound correspondence. This impediment engenders laborious reading and compromises comprehension, orthography, and lexicon acquisition.

Environmental factors also modulate dyslexia’s phenotypic expression and severity. While not causative, inadequate linguistic exposure, dearth of reading materials, and non-supportive educational milieus exacerbate dyslexic challenges. Timely identification and intervention are imperative, as tailored strategies can ameliorate academic performance setbacks and fortify self-esteem.

Despite elucidated causes and predispositions, dyslexia’s etiological panorama remains intricate and variegated. It warrants recognition that dyslexic manifestations vary across individuals, from mild to severe. Moreover, dyslexia frequently co-occurs with comorbid learning disparities, like attention-deficit/hyperactivity disorder (ADHD), complicating diagnostic endeavors.

In summation, dyslexia ensues from a nexus of genetic and neurological determinants impacting language processing. Genetic susceptibilities and cerebral structural variances set the stage, while environmental influences modulate symptomatology. Grasping these foundational determinants facilitates efficacious interventions and nurturing educational ambiances. By perpetuating research endeavors and comprehending dyslexia’s intricacies, educators, clinicians, and families can furnish comprehensive support to dyslexic individuals, enabling scholastic and personal flourishing.

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FREE 8+ Feature Writing Samples in PDF
Writing the Investigative Essay or Feature article
Sample Feature Article
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Lecture 8 Examples of Feature Writing
College Essay Format: Simple Steps to Be Followed

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Feature Writing: The Basics

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5 Tips for Writing a Captivating Feature Article
5 Tips for Writing a Captivating Feature Article. Written by MasterClass. Last updated: Nov 24, 2021 • 3 min read. A feature article blends hard facts with rigorously sourced details to paint a thorough picture and give a complete story. Learn how to write a feature story with these tips.
Feature Writing
Feature writing is a form of journalistic writing that focuses on specific events, issues, or people, providing more depth and detail than standard news reports. Unlike hard news stories, which primarily deal with the facts of who, what, when, and where, feature articles explore the how and why. They offer readers insight into the context and ...
Feature Writing: What It Is and How to Do It Right
Another example of impactful feature writing is the New York Times' "Modern Love" column. The column publishes personal essays about love and relationships, and it has become a popular destination for readers looking for advice and comfort. By sharing intimate stories, the column has created an online community and sparked conversations ...
How to Write a Feature Article: A Step-by-Step Guide
The first step in feature story writing is selecting a unique and compelling angle or theme for your story. Look for an aspect of the topic that hasn't been explored widely, or find a fresh perspective that can pique readers' curiosity. 2. Conduct Thorough Research: Solid research is the foundation of any feature story.
How to Write a Feature Article (with Pictures)
1. Choose a format for your article. Feature articles do not have a particular formula the way hard news articles do. You don't need to follow the "inverted pyramid" style of writing that conveys the "who, what, where, when and why" of a news story. Instead, choose a more inventive way to write a story.
Feature Writing
Categories: Free Essays. Download. Essay, Pages 11 (2517 words) Views. 11276. The term "feature article" is quite general and can include many different forms, such as profile features, news features, expose's, and many others. Feature journalism can also have numerous purposes, for example to inform, to educate, or to simply entertain.
How to Write a Feature Article: Crafting Captivating Stories
Remember that the writing process doesn't end when you put down the pen; it continues through editing and fine-tuning based on constructive criticism. Start Writing Feature Articles Like a Pro. Mastering how to write a feature article means diving deep into human stories. It's about painting vivid pictures and touching hearts.
Types of Features
4. Types of Features. From profiles to travel stories, there is feature style for everyone. "If my doctor told me I had only six minutes to live, I wouldn't brood. I'd type a little faster.". Isaac Asimov. Truth be told, no one writes a plain, old feature article, since "feature" is an umbrella term that encompasses a broad range of ...
5 Tips on Writing a Feature Journalism Article
1. Find a compelling story and choose your style. A feature can focus on an interesting person, like an author, singer or entrepreneur, a group of people, a topic, an issue, or a certain location. The possibilities are endless. It can be a profile, a human-interest story, seasonal, a lifestyle piece (which are very popular and fun to write ...
Feature writing: Crafting research-based stories with characters
This class will begin with a discussion of the differences in how journalists approach both the reporting and writing of features. In news, for example, reporters quote sources. ... Engage" and "Writing with 'Gold Coins'" on pages 302 to 304 of Clark and Scanlan's America's Best Newspaper Writing. These two essays will be ...
PDF Strategies for Essay Writing
Harvard College Writing Center 5 Asking Analytical Questions When you write an essay for a course you are taking, you are being asked not only to create a product (the essay) but, more importantly, to go through a process of thinking more deeply about a question or problem related to the course. By writing about a
PDF EXAMPLES OF FEATURE ARTICLES
EXAMPLES OF FEATURE ARTICLES Personal Profile or Q&A Article ... Personal Essay (1st person POV) ...
7 examples of engaging feature stories
A feature story is a piece of longform non-fiction content that covers a single topic in detail. Examples of feature stories include news features, in-depth profiles, human interest stories, science communication, data storytelling, and more. Feature stories are a common type of content for news organisations, particularly those who invest in ...
How To Write A Feature Story: Step-By-Step
Steps For Writing A Feature Writing. Now we covered some of the main types, let's take a look at the steps you should take when planning to write a feature article. 1. Evaluate Your Story Ideas. It sounds obvious, but the first step on the path to a good feature article is to have a strong idea.
Lecture 8 Examples of Feature Writing
Lecture 8 Examples of Feature Writing - Free download as Word Doc (.doc / .docx), PDF File (.pdf), Text File (.txt) or read online for free. This summary provides the key details from the document in 3 sentences: The document describes different feature writing exercises and samples for students, including writing a short article about abortion from either a pro-choice or pro-life perspective ...
Feature Writing: Tips, Types & Importance
4 minute read. Feature Writing is a literary and critically recognised form of writing in Journalism. It involves writing featured articles on trending topics, great personalities and relevant issues. This form of writing is generally longer than a specific news story and more informative. Feature writings are used extensively in magazines ...
Example of a Great Essay
An essay is a focused piece of writing that explains, argues, describes, or narrates. In high school, you may have to write many different types of essays to develop your writing skills. Academic essays at college level are usually argumentative : you develop a clear thesis about your topic and make a case for your position using evidence ...
The Beginner's Guide to Writing an Essay
Essay writing process. The writing process of preparation, writing, and revisions applies to every essay or paper, but the time and effort spent on each stage depends on the type of essay.. For example, if you've been assigned a five-paragraph expository essay for a high school class, you'll probably spend the most time on the writing stage; for a college-level argumentative essay, on the ...
The Four Main Types of Essay
An essay is a focused piece of writing designed to inform or persuade. There are many different types of essay, but they are often defined in four categories: argumentative, expository, narrative, and descriptive essays. Argumentative and expository essays are focused on conveying information and making clear points, while narrative and ...
Feature Writing
This intensive module provides a thorough grounding in the techniques of journalistic feature writing: researching, reporting, interviewing, writing — and revising. We investigate where good feature ideas come from; we explore how to conceptualize, organize, and structure those ideas through journalistic narrative; and we experiment in a collaborative workshop environment with several ...
Feature Writing
The paper "Feature Writing" tells us about unique well-described, thoughtful, original, articles that are well-researched hence they explore an event, place, idea, or person in depth. Journalism has embraced to a great deal the art of feature writing…. Download full paper File format: .doc, available for editing.
Narrative Essays
Narrative Introductions. The introduction of a narrative essay sets the scene for the story that follows. Interesting introductions—for any kind of writing—engage and draw readers in because they want to know more. Since narratives tell a story and involve events, the introduction of a narrative quite often starts in the middle of the ...
Insights into Puritan Beliefs: a Window into Early American Ideology
Essay Example: Puritanism stands as a defining feature of early American history, casting a long shadow over the cultural, social, and political landscape of the fledgling nation. Rooted in a fervent commitment to religious purity and moral rectitude, Puritan beliefs shaped not only individual
How to Write an Expository Essay
The structure of your expository essay will vary according to the scope of your assignment and the demands of your topic. It's worthwhile to plan out your structure before you start, using an essay outline. A common structure for a short expository essay consists of five paragraphs: An introduction, three body paragraphs, and a conclusion.
Grade 5 English Module: Writing a Three-Paragraph Feature Article
A feature article is a creative article that deals with real events, issues, and trends. It offers insights about people, places, things, or events that we encounter daily but to which we pay little attention. It often exposes human emotions or feelings and while focusing on the most interesting, not necessarily the most important, part of the ...
The Causes of Dyslexia: Neurological and Genetic Factors
Essay Example: Dyslexia, a distinct learning anomaly, impairs an individual's capacity for reading, writing, and spelling, despite normative cognitive abilities and educational access. This neurodevelopmental anomaly manifests as impediments in phonological processing, rendering word identification

Feature Writing

What is Feature Writing?

Characteristics of Feature Writing

Different Types of Feature Writing

1.Profile Features

2.Human Interest Features

3.News Features

4.Instructional Features

5.Historical Features

6.Seasonal Features

7.Behind-the-Scenes Features

What is the Difference Between a News Story and a Feature Story?

The Role of Feature Writing

Challenges in Feature Writing

Feature Writing Examples

Feature Writing Examples for Students

Tips for Features

Style and Objective of Feature Writing

Style of Feature Writing

FAQ’s

What skills are essential for feature writing?

How important are sources in feature writing?

Feature Writing: What It Is and How to Do It Right

By Happy Sharer

Introduction

Exploring the Definition and Benefits of Feature Writing

A Guide to Crafting Feature Articles

Feature Writing: What is it and How to Do It Right

Understanding the Art of Feature Writing

The Power of Feature Writing for Journalists and Writers

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How to Write a Feature Article: A Step-by-Step Guide

Understanding the Essence of a Feature Story

Tips and tricks for writing a Feature article

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1. Choose an Interesting Angle:

2. Conduct Thorough Research:

3. Humanize Your Story:

4. Create a Strong Lead:

5. Structure Your Story:

6. Use Descriptive Language:

7. Incorporate Quotes and Anecdotes:

8. Engage Emotionally:

Examples of Feature Stories

What should be the feature a Feature article structure?

Structure of a Feature Story

What are the characteristics of a good feature article?

Why is it important to write feature articles?

What are the challenges of writing a feature article?

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Week 1: What makes feature stories different?

Week 2: The crucial early stages: Conceiving and backgrounding the story

Week 3: Honing the story’s approach