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How to write a good feature lead

Show, don’t tell, in the first paragraph.

Get more tips on feature leads on Rev Up Readership.

26 Feature leads

Unlike the traditional summary lead, feature leads can be several sentences long, and the writer may not immediately reveal the story’s main idea. The most common types used in feature articles are anecdotal leads and descriptive leads. An anecdotal lead unfolds slowly. It lures the reader in with a descriptive narrative that focuses on a specific minor aspect of the story that leads to the overall topic. The following is an example of an anecdotal lead:

Sharon Jackson was sitting at the table reading an old magazine when the phone rang. It was a reporter asking to set up an interview to discuss a social media controversy involving Jackson and another young woman.“Sorry,” she said. “I’ve already spoken to several reporters about the incident and do not wish to make any further comments.”

Notice that the lead unfolds more slowly than a traditional lead and centers on a particular aspect of the larger story. The nut graph, or a paragraph that reveals the importance of the minor story and how it fits into the broader story, would come after the lead. There will be more on the nut graph later in this chapter.

Descriptive leads begin the article by describing a person, place, or event in vivid detail. They focus on setting the scene for the piece and use language that taps into the five senses in order to paint a picture for the reader. This type of lead can be used for both traditional news and feature stories. The following is an example of a descriptive lead:

Thousands dressed in scarlet and gray T-shirts eagerly shuffled into the football stadium as the university fight song blared.

For each article below, identify whether it uses a descriptive or anecdotal lead:

A thin line of defense
Pediatric patient
Inside Jay Z’s Roc Nation

Writing for Strategic Communication Industries Copyright © 2016 by Jasmine Roberts is licensed under a Creative Commons Attribution-NonCommercial 4.0 International License , except where otherwise noted.

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from training.npr.org: https://training.npr.org/2016/10/12/leads-are-hard-heres-how-to-write-a-good-one/

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A good lead is everything — here's how to write one

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(Deborah Lee/NPR)

I can’t think of a better way to start a post about leads than with 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.” — William Zinsser, On Writing Well

No one wants a dead article! A story that goes unread is pointless. The lead is the introduction — the first sentences — that should pique your readers’ interest and curiosity. And it shouldn’t be the same as your radio intro, which t ells listeners what the story is about and why they should care. In a written story, that’s the function of the “nut graph” (which will be the subject of a future post) — not the lead.

The journalism lead’s main job (I’m personally fond of the nostalgic spelling , “lede,” that derives from the bygone days of typesetting when newspaper folks needed to differentiate the lead of a story from the lead of hot type) is to make the reader want to stay and spend some precious time with whatever you’ve written. It sets the tone and pace and direction for everything that follows. It is the puzzle piece on which the rest of the story depends. To that end, please write your lead first — don’t undermine it by going back and thinking of one to slap on after you’ve finished writing the rest of the story.

Coming up with a good lead is hard. Even the most experienced and distinguished writers know this. No less a writer than John McPhee has called it “ the hardest part of a story to write.” But in return for all your effort, a good lead will do a lot of work for you — most importantly, it will make your readers eager to stay awhile.

There are many different ways to start a story. Some examples of the most common leads are highlighted below. Sometimes they overlap. (Note: These are not terms of art.)

Straight news lead

Just the facts, please, and even better if interesting details and context are packed in. This kind of lead works well for hard news and breaking news.

Some examples:

“After mass street protests in Poland, legislators with the country’s ruling party have abruptly reversed their positions and voted against a proposal to completely ban abortion.” (By NPR’s Camila Domonoske )

“The European Parliament voted Tuesday to ratify the landmark Paris climate accord, paving the way for the international plan to curb greenhouse gas emissions to become binding as soon as the end of this week.” (By NPR’s Rebecca Hersher )

“The United States announced it is suspending efforts to revive a cease-fire in Syria, blaming Russia’s support for a new round of airstrikes in the city of Aleppo.” (By NPR’s Richard Gonzales )

All three leads sum up the news in a straightforward, clear way — in a single sentence. They also hint at the broader context in which the news occurred.

Anecdotal lead

This type of lead uses an anecdote to illustrate what the story is about.

Here’s a powerful anecdotal lead to a story about Brazil’s murder rate and gun laws by NPR’s Lulu Garcia-Navarro :

“At the dilapidated morgue in the northern Brazilian city of Natal, Director Marcos Brandao walks over the blood-smeared floor to where the corpses are kept. He points out the labels attached to the bright metal doors, counting out loud. It has not been a particularly bad night, yet there are nine shooting victims in cold storage.”

We understand right away that the story will be about a high rate of gun-related murder in Brazil. And this is a much more vivid and gripping way of conveying it than if Lulu had simply stated that the rate of gun violence is high.

Lulu also does a great job setting the scene. Which leads us to …

Scene-setting lead

Byrd Pinkerton, a 2016 NPR intern, didn’t set foot in this obscure scholarly haven , but you’d never guess it from the way she draws readers into her story:

“On the second floor of an old Bavarian palace in Munich, Germany, there’s a library with high ceilings, a distinctly bookish smell and one of the world’s most extensive collections of Latin texts. About 20 researchers from all over the world work in small offices around the room.”

This scene-setting is just one benefit of Byrd’s thorough reporting. We even get a hint of how the place smells.

First-person lead

The first-person lead should be used sparingly. It means you, the writer, are immediately a character in your own story. For purists, this is not a comfortable position. Why should a reader be interested in you? You need to make sure your first-person presence is essential — because you experienced something or have a valuable contribution and perspective that justifies conveying the story explicitly through your own eyes. Just make sure you are bringing your readers along with you.

Here, in the spirit of first-personhood, is an example from one of my own stories :

“For many of us, Sept. 11, 2001, is one of those touchstone dates — we remember exactly where we were when we heard that the planes hit the World Trade Center and the Pentagon. I was in Afghanistan.”

On a historic date, I was in a place where very few Americans were present, meaning I’m able to serve as a guide to that place and time. Rather than stating I was in Afghanistan in the first sentence, I tried to draw in readers by reminding them that the memory of Sept. 11 is something many of us share in common, regardless of where we were that day.

Observational lead

This kind of lead steps back to make an authoritative observation about the story and its broader context. For it to work, you need to understand not just the immediate piece you’re writing, but also the big picture. These are useful for stories running a day or more after the news breaks.

Here’s one by the Washington Post’s Karen Tumulty , a political reporter with decades of experience:

“At the lowest point of Donald Trump’s quest for the presidency, the Republican nominee might have brought in a political handyman to sand his edges. Instead, he put his campaign in the hands of a true believer who promises to amplify the GOP nominee’s nationalist message and reinforce his populist impulses.”

And here’s another by NPR’s Camila Domonoske , who knows her literary stuff, juxtaposing the mundane (taxes) with the highbrow (literary criticism):

“Tax records and literary criticism are strange bedfellows. But over the weekend, the two combined and brought into the world a literary controversy — call it the Ferrante Furor of 2016.”

Zinger lead

Edna Buchanan, the legendary, Pulitzer Prize-winning crime reporter for the Miami Herald , once said that a good lead should make a reader sitting at breakfast with his wife “spit out his coffee, clutch his chest and say, ‘My god, Martha. Did you read this?’”

That’s as good a definition as any of a “zinger” lead. These are a couple of Buchanan’s:

“His last meal was worth $30,000 and it killed him.” (A man died while trying to smuggle cocaine-filled condoms in his gut.)

“Bad things happen to the husbands of Widow Elkin.” (Ms. Elkin, as you might surmise, was suspected of bumping off her spouses.)

After Ryan Lochte’s post-Olympic Games, out-of-the-water escapades in Rio, Sally Jenkins, writing in the Washington Post , unleashed this zinger:

“Ryan Lochte is the dumbest bell that ever rang.”

Roy Peter Clark, of the Poynter Institute, deconstructs Jenkins’ column here , praising her “short laser blast of a lead that captures the tone and message of the piece.”

Here are a few notes on things to avoid when writing leads:

Clichés and terrible puns. This goes for any part of your story, and never more so than in the lead. Terrible puns aren’t just the ones that make a reader groan — they’re in bad taste, inappropriate in tone or both. Here’s one example .
Long, rambling sentences. Don’t try to cram way too much information into one sentence or digress and meander or become repetitive. Clarity and simplicity rule.
Straining to be clever. Don’t write a lead that sounds better than it means or promises more than it can deliver. You want your reader to keep reading, not to stop and figure out something that sounds smart but is actually not very meaningful. Here’s John McPhee again: “A lead should not be cheap, flashy, meretricious, blaring: After a tremendous fanfare of verbal trumpets, a mouse comes out of a hole, blinking.”
Saying someone “could never have predicted.” It’s not an informative observation to say someone “could never have imagined” the twists and turns his or her life would take. Of course they couldn’t! It’s better to give the reader something concrete and interesting about that person instead.
The weather . Unless your story is about the weather, the weather plays a direct role in it or it’s essential for setting the scene, it doesn’t belong in the lead. Here’s a story about Donald Trump’s financial dealings that would have lost nothing if the first, weather-referenced sentence had been omitted.

One secret to a good lead

Finally, good reporting will lead to good leads. If your reporting is incomplete, that will often show up in a weak lead. If you find yourself struggling to come up with a decent lead or your lead just doesn’t seem strong, make sure your reporting is thorough and there aren’t unanswered questions or missing details and points. If you’ve reported your story well, your lead will reflect this.

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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.

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Writing Tips

5 Tips for Writing a Great Lead for a News Story

5-minute read
14th June 2021

A great lead (or “lede”) will set out the key points from a news story in the first lines. This helps to grab readers’ attention, as well as giving them the context they need to understand the story that follows. But how can you write a strong lead for a news or feature article? We have five simple tips to follow:

Consider the type of lead you want to use for your article.
Think about the “Five Ws and an H” to pinpoint the key details for your lead.
Use clear, concise language, avoiding jargon or unnecessary wordiness.
Resist puns and other newspaper lead clichés.
Test your lead by reading it out loud to see if it reads smoothly.

For more advice on writing a lead for an article , read on below.

1. Types of Leads

Article leads come in various forms. Three common examples include:

Summary leads are typically used when writing about current events. As the name indicates, summary leads aim to summarize the key details from a story. Usually, they are no more than one or two sentences long.
Anecdotal leads are two to three paragraphs long and most common in “feature” articles rather than news stories (e.g., profile or opinion pieces). They work by setting out an anecdote related to the story, helping to make it feel more personal or emotive. This is then followed by a nut graph , where you will explain how the anecdote relates to the main topic of the article.
Question leads start a story with a question, posed to the reader, about the topic of the article. This would then be followed by a summary.

The key here is to choose a type of lead paragraph that will work best for your news story. Traditionally, news focused stories start with a factual summary lead. Anecdotal and question leads, meanwhile, are great for more personal stories.

2. The Five Ws and H

In journalism, the Five Ws and H refer to six questions you should ask about the story you’re writing. These are also helpful when writing a lead for a story:

Who is involved or affected? Who will benefit or be harmed?
What happened? What is the article about in simple terms?
Where does/did/will it happen? Does the location affect what happened?
When does/did/will it happen? Is it relevant to the story?
Why did this happen? Why is it important?
How did it happen? How does it affect those involved?

Answering the questions above will help you pick out the most important details for the story, which you can then use as the basis for your lead. The story will then cover the other details in the rest of the story, starting with the most relevant points .

Even if you’re not writing a summary lead, considering the Five Ws and H is a good exercise! Picking out the most important details means you can then plan your lead to fit the story, as well as helping you to structure the overall article.

3. Use Clear, Concise Language

Article leads, especially summary leads, need to communicate the key details of a story in as few words as possible. This will usually mean:

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Using everyday language rather than jargon or buzzwords.
Writing in the active voice where possible.
Keeping sentences short (ideally, no more than 15 to 20 words).
Avoiding various forms of wordiness .
Omitting unnecessary details (e.g., if you know your readers will be familiar with the background information on a story, you can leave it out of the lead).

This is essential for summary leads, which may only be a few sentences long. But clear, concise language is valuable no matter what type of lead you’re writing.

4. Resist Puns and Other Clichés

Puns are a common trope in tabloid headlines . It may even be tempting to include one in your lead, but try to resist this urge! If nothing else, puns suggest a lack of seriousness, which could undermine the tone of the rest of the story.

But puns are also a cliché in article leads, so they should be avoided on that count, too. In fact, there are several clichéd leads you might want to avoid, including:

Dictionary leads (e.g., The dictionary defines X as… )
Time-related phrases (e.g., Since the beginning of time… )
“Good news, bad news” leads (e.g., The good news is… )
“Thanks to” leads (e.g., Thanks to the internet, we now… )

There are occasions where a pun or cliché might be appropriate. But it’s always worth thinking carefully about how such things will affect the tone of your story.

5. Test and Revise Your Lead

Finally, test your lead by reading it out loud. It should read clearly and smoothly. If you find yourself stumbling, look for minor changes you can make to improve it. This might mean cutting a few words or rephrasing the sentence slightly.

Don’t forget, too, that your lead is just part of a story! It is thus wise to revisit your lead once you’ve written the full article and tweak it to fit what you’ve written.

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If you are writing a news story or article, make sure to get it proofread! Our expert editors can help you polish and perfect your writing – leads and all – so submit a free trial document today to find out how our services work.

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How to Write a Lead: 10 Do’s, 10 Don’ts, 10 Good Examples

Written By Megan Krause
Updated: November 15, 2023

What is lead writing?

It’s the opening hook that pulls you in to read a story. The lead should capture the essence of the who , what , when , where , why, and how — but without giving away the entire show. A good lead is enticing. It beckons. It promises the reader their time will be well-spent and sets the tone and direction of the piece. All great content starts with a great lead.

Old-school reporting ace and author of ‘The Word: An Associated Press Guide to Good News Writing,’ Jack Cappon, rightly called lead writing “the agony of square one.” A lot if hinging on your lead. From it, readers will decide whether or not they’ll continue investing time and energy into your content or jump ship. And with our culture’s currently short attention spans and patience, if your content doesn’t hook people up front, they’ll bolt. The “back” button is just a thumb tap away.

So, let’s break down the types of leads, which ones you should be writing, and the top 10 do’s and don’ts. We’ll get you hooking customers in no time.

Two Types of Leads

There are two main types of leads and many, many variations thereof. These are:

The summary lead

Most often found in straight news reports, this is the trusty inverted-pyramid lead we learned about in Journalism 101. It sums up the situation succinctly, giving the reader the most important facts first. In this type of lead, you want to determine which aspect of the story — who, what, when, where, why, and how — is most important to the reader and present those facts.

An alleged virgin gave birth to a son in a barn just outside of Bethlehem last night. Claiming a celestial body guided them to the site, magi attending the birth say the boy will one day be king. Herod has not commented.

A creative or descriptive lead

This can be an anecdote, an observation, a quirky fact, or a funny story, among other things. Better suited to feature stories and blog posts, these leads are designed to pique readers’ curiosity and draw them into the story. If you go this route, make sure to provide broader detail and context in the few sentences following your lead. A creative lead is great — just don’t make your reader hunt for what the story’s about much after it.

Mary didn’t want to pay taxes anyway.

A note about the question lead. A variation of the creative lead, the question lead is just what it sounds like: leading with a question. Most editors (myself included) don’t like this type of lead. It’s lazy writing. People are reading your content to get answers, not to be asked anything. It feels like a cop-out, like a writer couldn’t think of a compelling way to start the piece. Do you want to learn more about the recent virgin birth? Well duh, that’s why I clicked in here in the first place.

Is there no exception? Sure there is. If you can make your question lead provocative, go for it — Do you think you have it bad? This lady just gave birth in a barn — just know that this is accomplished rarely.

How to Write a Lead: Lede vs. Lead Origin

Which Type of Lead Should You Write?

This depends on a few factors. Ask yourself:

Who is your audience?

Tax attorneys looking for recent changes in the law don’t want to wade through your witty repartee about the IRS, just as millennials searching for craft beer recipes don’t want to read a technical discourse on the fermentation process. Tailor your words to those reading the post.

Where will this article be published?

Match the site’s tone and language. There are some things you can get away with on Vice.com that would be your demise on the Chronicle of Higher Education .

What are you writing about?

Certain topics naturally lend themselves to creativity, while others beg for a “Just the facts, ma’am” presentation. Writing about aromatherapy for a yoga blog gives you a little more leeway than writing about investment tips for a retirement blog.

Lead Writing: Top 10 do’s

1. determine your hook..

Look at the 5 Ws and 1 H. Why are readers clicking on this content? What problem are they trying to solve? What’s new or different? Determine which aspects are most relevant and important, and lead with that.

2. Be clear and succinct.

Simple language is best. Mark Twain said it best: “Don’t use a five-dollar word when a fifty-cent word will do.”

3. Write in the active voice.

Use strong verbs and decided language. Compare “Dog bites man” to “A man was bitten by a dog” — the passive voice is timid and bland (for the record, Stephen King feels the same way).

4. Address the reader as “you.”

This is the writer’s equivalent to breaking the fourth wall in theatre, and while some editors will disagree with me on this one, we stand by it. People know you’re writing to them. Not only is it OK to address them as such, we think it helps create a personal connection with them.

5. Put attribution second.

What’s the nugget, the little gem you’re trying to impart? Put that information first, and then follow it up with who said it. The “according to” part is almost always secondary to what he or she actually said.

6. Go short and punchy.

Take my recent lead for this Marketing Land post : “Freelance writers like working with me. Seriously, they do.” Short and sweet makes the reader want to know where you’re going with that.

7. If you’re stuck, find a relevant stat.

If you’re trying to be clever or punchy or brilliant, and it’s just not happening, search for an interesting stat related to your topic and lead with that. This is especially effective if the stat is unusual or unexpected, as in, “A whopping 80 percent of Americans are in debt.”

8. Or, start with a story.

If beginning with a stat or fact isn’t working for your lead, try leading with an anecdote instead. People absorb data, but they feel stories. Here’s an example of an anecdotal lead that works great in a crime story: “It’s just after 11 p.m., and Houston police officer Al Leonard has his gun drawn as the elderly black man approaches the patrol car. The 9mm pistol is out of sight, pointing through the car door. Leonard rolls down his window and casually greets the man. ‘What can I do for you?'” You want to know what happens next, don’t you?

9. Borrow this literary tactic.

Every good story has these three elements : a hero we relate to, a challenge (or villain) we fear, and an ensuing struggle. Find these elements in the story you’re writing and lead with one of those.

10. When you’re staring at a blank screen.

Just start. Start writing anything. Start in the middle of your story. Once you begin, you can usually find your lead buried a few paragraphs down in this “get-going” copy. Your lead is in there — you just need to cut away the other stuff first.

10 Things Not to Do When Writing a Lead Paragraph

Lead Writing: Top 10 don’ts

1. don’t make your readers work too hard..

Also known as “burying the lead,” this happens when you take too long to make your point. It’s fine to take a little creative license, but if readers can’t figure out relatively quickly what your article is about, they’ll bounce.

2. Don’t try to include too much.

Does your lead contain too many of the 5 Ws and H? Don’t try to jam everything in there — you’ll overwhelm the reader.

3. Don’t start sentences with “there is” or “there are” constructions.

It’s not wrong, but similar to our question lead, it’s lazy, boring writing.

4. Don’t be cliche.

We beg of you .

5. Don’t have any errors.

Include typos or grammatical errors, and it’s game over — you’ve lost the reader.

6. Don’t say anything is “right around the corner.”

Just trust us. We’ve seen it used way too much. “Valentine’s Day is right around the corner,” “The first day of school is right around the corner,” Mother’s Day sales are right around the corner” … Zzzz. Boring .

7. Don’t make puns. Even ironically.

It’s an old example but it proves the point. From a Huffington Post story about a huge swastika found painted on the bottom of a swimming pool in Brazil: “Authorities did Nazi this coming.” Boo. Absolutely not. Don’t make the reader groan.

8. Don’t state the obvious.

Don’t tell readers what they already know. We call it “water is wet” writing. Some examples: “The internet provides an immense source of useful information.” “Today’s digital landscape is moving fast.” Really! You don’t say?

9. Don’t cite the dictionary.

“Merriam-Webster defines marketing as…” This is the close cousin of “water is wet” writing. It’s a better tactic for essay-writing middle-schoolers. Don’t do this.

10. Don’t imagine anything. You are not John Lennon.

“Imagine a world where everyone recycled,” “Imagine how good it must feel to save a life,” “Imagine receiving a $1,000 tip from your favorite customer on Christmas Eve.” Imagine we retired this hackneyed, worn-out lead.

What Is a Lead in Writing? 10 Good Examples of Lead Sentences and Paragraphs

10 Worthy Examples of Good Lead Writing

1. short and simple..

Edna Buchanan, the Pulitzer Prize-winning crime reporter for The Miami Herald, wrote a story about an ex-con named Gary Robinson. One drunken night in the ‘80s, Robinson stumbled into a Church’s Chicken, where he was told there was no fried chicken, only nuggets. He decked the woman at the counter, and in the ensuing melee, he was shot by a security guard. Buchanan’s lead:

Gary Robinson died hungry.

2. Ooh, tell me more.

A 2010 piece in the New York Times co-authored by Sabrina Tavernise and Dan Froschjune begins:

An ailing, middle-age construction worker from Colorado, on a self-proclaimed mission to help American troops, armed himself with a dagger, a pistol, a sword, Christian texts, hashish and night-vision goggles and headed to the lawless tribal areas near the border of Afghanistan and Pakistan to personally hunt down Osama bin Laden.

3. Meanwhile, at San Quentin.

From the 1992 story titled, “After Life of Violence Harris Goes Peacefully,” written by Sam Stanton for The Sacramento Bee:

In the end, Robert Alton Harris seemed determined to go peacefully, a trait that had eluded him in the 39 violent and abusive years he spent on earth.

Remember Olympic jerk Ryan Lochte, the American swimmer who lied to Brazilian authorities about being robbed at gunpoint while in Rio for 2016 games? Sally Jenkins’ story on Lochte for The Washington Post begins:

Ryan Lochte is the dumbest bell that ever rang.

5. An oldie but man, what a goodie.

This beautiful lead is from Shirley Povich’s 1956 story in The Washington Post & Times Herald about a pitcher’s perfect game:

The million‑to‑one shot came in. Hell froze over. A month of Sundays hit the calendar. Don Larsen today pitched a no-hit, no‑run, no‑man‑reach‑first game in a World Series.

6. Dialogue lead.

Diana Marcum wrote this compelling lead for the Los Angeles Times , perfectly capturing the bleakness of the California drought in 2014:

The two fieldworkers scraped hoes over weeds that weren’t there. “Let us pretend we see many weeds,” Francisco Galvez told his friend Rafael. That way, maybe they’d get a full week’s work.

7. The staccato lead.

Ditto; we found this one in an online journalism quiz , but can’t track the source. It reads like the first scene of a movie script:

Midnight on the bridge… a scream… a shot… a splash… a second shot… a third shot. This morning, police recovered the bodies of Mr. and Mrs. R. E. Murphy, estranged couple, from the Snake River. A bullet wound was found in the temple of each.

8. Hey, that’s us.

Sure, we’ll include our own former Dear Megan column railing against exclamation points:

This week’s question comes to us from one of my kids, who will remain nameless because neither wants to appear in a dorky grammar blog written by their uncool (but incredibly good-looking) mom. I will oblige this request for anonymity because, despite my repeated claims about how lucky they are to have me, apparently I ruin their lives on a semi-regular basis. Why add to their torment by naming them here? I have so many other ways I’d rather torment them.

9. The punch lead.

From numerous next-day reports following the Kennedy assassination:

The president is dead.

10. Near perfection.

Finally, this lead comes from a 1968 New York Times piece written by Mark Hawthorne. It was recently featured in the writer’s obituary :

A 17-year-old boy chased his pet squirrel up a tree in Washington Square Park yesterday afternoon, touching off a series of incidents in which 22 persons were arrested and eight persons, including five policemen, were injured.

Time to Put That Lead Writing to Good Use

Alright, now that you’ve read this article, you’re going to be hooking readers left and right with captivating leads. What’s next? Well, if you want to showcase your new skills while working with top brands, join our Talent Network . We’ll match you with companies that fit your talent and expertise to take your career to the next level.

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How to write a lead: 9 ways to nail your opening.

The lead, also spelled lede, is the all-important opening of your article. Here’s what to know.

The lead can refer to an opening section, paragraph, or sentence of a written piece.

I enrolled in night school at UCLA because I wanted to develop my skills with something other than an online course. I’m a little burnt out on online courses and the funnels that sell them. I’ve been buying courses for eight years and not finishing them for nine. And I felt ready to learn from more seasoned experts — professors and editors who had decades of experience under their belts.

The UCLA night school building sits on the edge of campus in Westwood, about half a mile from the intersection of Sepulveda and Santa Monica boulevards. When I showed up to class, I sat alongside a dozen other adults ranging in age from 19 to 65 as our teacher handed out the first writing exercise.

“This is the most important skill you will learn in journalism school,” he said.

The assignment was to write a lead. Sometimes misspelled “lede” for journalism shorthand, a lead is a single sentence, paragraph, or section that summarizes the who, what, where, when, why, and how of your story.

Think of leads as being like movie trailers. You get a sense of what the movie is about, yet the teaser leaves you wanting more. There are also many variations on the lead — there is something for everyone.

Headlines are vital for successful content marketing , but to keep readers or viewers intrigued, you need a great lead, too. Here’s how this classic journalism technique can help you reach your goals.

What is a lead (lede), types of leads for writing online, how to write a lead: best practices to consider, when should you write the lead for your news story, practice writing great leads today.

Before delving into the intricacies of a lead, it’s crucial to understand its purpose.

The lead is the opening paragraph or sentence of an article, designed to capture readers’ attention and entice them to continue reading. A well-crafted lead sets the tone for the rest of your writing and serves as a guide for the reader, highlighting the main points and generating curiosity.

In news, a lede serves readers by communicating what they need to know about current events. Marketers can benefit from this skill, too.

A lede will help you do the following:

Reduce bounce rate. Readers will be less likely to dip out after just a few seconds, and may explore other pages on your website.
Increase time on page. The longer readers stay on a page, the better it is for SEO. Time on page is a common quality metric in corporate media.
Feed your sales funnel. Ledes aren’t just for articles; their logic applies to video scripts and sales pages, too. If readers hang around, you’re doing something right.

(For clarity, this definition of lead is different than a marketing lead — someone who has entered your sales funnel — and is distinct from the word lead as other parts of speech, such as “lead me to the nearest food truck, please.” 🌮)

Although there’s no one correct way to write a lead, some approaches are better than others based on the type of article. Journalists learn a core set of leads in year one to attract and engage readers. Here are nine different lead styles to know about.

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Summary lead / straight news lead.
Single-item lead.
Anecdotal lead / analogous lead.
Delayed identification lead.
Scene-setting lead.
Short sentence lead / zinger lead.
First-person lead.
Observational lead.
Question lead.

@nickwolny1 Amazon/iRobot Deal Called Off Due to Regulation - Jan. 29, 2023: Amazon will pay a $94 million termination fee to abandon its purchase of Roomba maker iRobot. Was this the right move? Here’s what to know. In 2022, Amazon announced they were acquiring iRobot, maker of the Roomba vacuum and other products, for $1.7 billion. But since then, the deal has been mired by antitrust regulators in the EU, who are blocking the deal on grounds that it gives Amazon too much marketplace control, as they could delist or degrade access to competitors. Antitrust regulators ensure mergers and acquisitions don’t result in monopolies. Market competition keeps product prices down, which is better for consumers. In response, iRobot announced today they would lay off 31% of staff, about 350 employees. iRobot made $891 million in revenue in 2023, but ended at around a $275 million loss. In a joint statement, Amazon and iRobot said there was “no path to regulatory approval for the deal.” Should Amazon have been able to acquire iRobot? #news #journalist #journalism #amazon #smarthome #newsanchor #technews #regulation #europeanunion #vacuum #acquisition #layoffs ♬ original sound - Nick Wolny | News Journalist

In this TikTok, I use a lead sentence to get the point across quickly.

No. 1: Summary Lead / Straight News Lead

Of all the types of leads summary lead is the most common. It’s very popular when writing about hard news or breaking news, and if you’re new to writing, you can’t go wrong with a summary lead. This approach is also called a news lead or a direct lead.

Hannah Block, international news editor for National Public Radio (NPR), describes it well: “Just the facts, please, and even better if interesting details and context are packed in.”

The summary lead formula is simple: aspire to communicate most of the who, what, where, when, why, and how of your story (referred to hereafter as “the W’s”) in a single sentence.

This approach is preferred in news writing, which aspires to remain neutral and unbiased in its delivery of information, and creates immediate clarity. Prioritize active voice, journalistic writing, and proper AP style in a summary lead.

Here is an example from the Associated Press (AP).

“Intensifying its fight against high inflation, the Federal Reserve raised its key interest rate by a substantial three-quarters of a point for a third straight time and signaled more large rate hikes to come — an aggressive pace that will heighten the risk of an eventual recession.” ( 1 )

example summary lead text surrounded by a gold border

AP’s business section has a “business highlights” subsection in which each article is a collection of leads and summary paragraphs. Read through it to get a feel for how to create clarity and context in a single paragraph that includes the most important information. AP News is free to read.

Here’s another example from Reuters:

“The Philadelphia Phillies ended their long wait for a World Series title with a short burst of baseball last night as they clinched the crown by completing a rain-suspended 4-3 win over the Tampa Bay Rays.” ( 2 )

example of a straight news lead surrounded by a gold border

No. 2: Single-Item Lead

The single-item lead is similar to the summary lead, but this approach focuses just one or two of the W’s, rather than trying to stuff most or all of them into a single sentence.

This approach is good if your news story or article is very much driven by one particular detail or feeling, and since it’s shorter, it usually results in a bigger punch. Aim to land your idea in as few words as possible, preferably all in one sentence.

Let's rewrite the previous Reuters lead to demonstrate how it could be expressed as a single-item lead instead.

“The Philadelphia Phillies are World Champions again.”

No. 3: Anecdotal Lead / Analogy Lead

If the information you’re introducing to your audience is complex or overly conceptual, a more effective approach might be to use an analogy or anecdote instead.

The anecdotal lead is unique in that it does not communicate the W’s of the story, but rather leans on details or analogies to help the reader infer what the story is going to be about. The result is a more emotionally charged or stylistic lead that goes beyond hard facts and can pull readers in.

Pro Tip : An anecdote is any short story that illustrates a point.

These leads can use an overt analogy or be more descriptive. Here are examples of each.

The Cincinnati Post

“From Dan Ralescu’s sun-warmed beach chair in Thailand, the Indian Ocean began to look, oddly, not so much like waves but bread dough.”

ProPublica/The New York Times

“"I tucked Joel in, but I feel so guilty I didn’t hold him longer,” Julie Rea said, her voice welling with emotion. That is all she can muster about the worst night of her life. As she tries to say more, she breaks down." ( 3 )

Resist the urge to use an anecdotal lead that is too cheesy or cliché. The objective of this lead is to use an anecdote to create depth and intrigue.

example of an anecdotal lead surrounded by a gold border

No. 4: Delayed Identification Lead

This lead focuses on an action or situation without revealing who is involved at first. It is good to use when someone wants to emphasize a scenario or situation effectively before revealing the W’s. When done well, it pulls people in.

In the first debate for the United States Democratic Primary in 2020, Kamala Harris used a delayed-identification lead in one of her talking points on busing legislation to great effect.

“There was a little girl in California who was part of the second class to integrate their public schools, and she was bused to school every day. That little girl was me.”

No. 5: Scene-Setting Lead

The scene-setting lead creates depth and detail. It is more lush and narrative, and is great for creating vividness or setting the stage for longer pieces.

Usually, the primary intention of the lead is to establish clarity quickly, but in literary journalism and other more longform approaches, taking the time to set the stage at the beginning often results in a more effective piece.

Here is an example of a scene-setting lead from BuzzFeed.

“For seven years before the murder, Dee Dee and Gypsy Rose Blancharde lived in a small pink bungalow on West Volunteer Way in Springfield, Missouri. Their neighbors liked them. “'Sweet' is the word I’d use,” a former friend of Dee Dee’s told me not too long ago. Once you met them, people said, they were impossible to forget.” ( 4 )

Here is another example, a sentence from the book Beloved by Toni Morrison.

“Winter in Ohio was especially rough if you had an appetite for color. Sky provided the only drama, and counting on a Cincinnati horizon for life’s principal joy was reckless indeed.”

example of a scene setting lead surrounded by a gold border

No. 6: Short Sentence Lead / Zinger Lead

This type of lead is when you pack a punch with the first sentence of your article to capture a reader’s attention. It can be sassy, shocking, unexpected, compelling, or all of the above.

Usually, when using a zinger lead, the following paragraphs fill in missing details and function like a regular lead.

Here is a sassy example from the Philadelphia Enquirer.

“Philadelphians don’t need anyone’s approval, especially not New Yorkers. But that doesn’t mean we don’t care when we get recognition.” ( 5 )

Here is another example from the Miami Herald. This was a story about a man who attempted to smuggle cocaine by swallowing balloons of it.

“His last meal was worth $30,000 and it killed him.” ( 6 )

example of a zinger lead surrounded by a gold border

No. 7: First-Person Lead

A first-person lead is the battle ax of many a mom blogger or aspiring opinion columnist. First-person leads are fine for blogging, and they’ve become increasingly popular in our social media-first culture.

However, they also break the fourth wall; if you’re writing a journalistic article or reporting, introducing yourself as a character in your story may be a risk.

Remember, the main goal of a lead is to get a point across quickly. If your personal experience doesn’t contribute to that goal, readers won’t understand what they’re reading, and they’ll check out.

Here is an example from a story by National Public Radio (NPR).

“For many of us, Sept. 11, 2001, is one of those touchstone dates — we remember exactly where we were when we heard that the planes hit the World Trade Center and the Pentagon. I was in Afghanistan.” ( 7 )

example of a first person lead surrounded by a gold border

No. 8: Observational Lead

In an observational lead, you project authority by talking about an issue at hand and relating the information back to the big picture.

Observational leads usually aren’t used for breaking news, and they focus more on giving overall context to a situation, rather than just basic facts. They’re a great opportunity to share your perspective, industry savvy, or writing style.

Here are the opening two sentences of a feature from The New York Times that leveraged the observational lead.

“In 2018, senior executives at one of the country’s largest nonprofit hospital chains, Providence, were frustrated. They were spending hundreds of millions of dollars providing free health care to patients. It was eating into their bottom line.” ( 8 )

example of an observational lead surrounded by a gold border

No. 9: Question Lead

A question lead uses question format to create curiosity and intrigue. Since a question lead is not providing details, the second paragraph of your piece will need to pull extra weight and deliver missing details.

Ensure you have this one-two punch in place so that the rhythm of your article reads properly.

Here's a terrific question lead from an article in The Las Vegas Sun.

“What’s increasing faster than the price of gasoline? Apparently, the cost of court lobbyists.

District and Justice Court Judges want to hire lobbyist Rick Loop for $150,000 to represent the court system in Carson City through the 2009 legislative session. During the past session, Loop’s price tag was $80,000.” ( 9 )

Question leads are also popular in SEO writing , especially questions addressed directly to the reader. Most search engine traffic is people with intent who are trying to have their questions answered; this approach is an easier way to hook readers, but it is sometimes considered low-brow.

Let's look at a question lead from Social Media Examiner that followed this format.

“Are you using TikTok or Instagram for business? Looking for a content strategy that works and won’t leave you exhausted?

In this article, you’ll discover a three-step strategy to create highly engaging TikTok and Instagram content that will scale your audience while helping you avoid burnout.” ( 10 )

example of a question lead surrounded by a gold border

Come Up With a Good Hook

To write an effective lead, begin with a strong hook that instantly grabs your readers' attention.

Consider using a thought-provoking question, a surprising fact, or an engaging anecdote that relates to the topic. The key is to make your readers curious and eager to find out more.

For example, if you're writing an article about the benefits of exercise, you could start your lead with a captivating question like, "Did you know that just 30 minutes of daily exercise can add years to your life?"

Related: How to Write Powerful Headlines

Know Your Audience

Understanding your target audience is essential to create a lead that resonates well. Consider your readers’ demographics, interests, and motivations.

For instance, if you are writing a lead for a tech-savvy audience, you may want to start with a powerful statistic or a cutting-edge technological breakthrough. On the other hand, if your audience consists of beginners, you could begin with a relatable storytelling approach to ease them into the topic.

Tailoring your lead to the specific interests of your readers will increase their engagement and make them more likely to continue reading. This is a core concept of positioning.

Keep It Short and Concise

In our fast-paced digital age, attention spans are shrinking. To capture your readers' interest and keep them engaged, keep your lead short and concise.

Use clear and concise language to convey your message effectively. Long-winded leads tend to lose readers' interest quickly, so aim for brevity.

Pro Tip : Avoid unnecessary jargon or complex sentences that may confuse or bore your audience. Instead, focus on making your point succinctly and compellingly.

Use Keywords Strategically

In today's digital landscape, search engine optimization (SEO) is a crucial element in writing leads. Strategic placement of relevant keywords helps search engines recognize the relevance of your content and boost its visibility in search results.

When writing your lead, identify the primary keyword or key phrase that represents your topic. For instance, if you're writing an article on budget travel tips, the primary keyword may be "budget travel." Integrate the keyword naturally in your lead to make it more search-engine-friendly and increase your chances of attracting organic traffic.

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Consider writing your lead first, then editing your lead last.

The lead will give you a running start, and is usually one of the first things you will write when you sit down in front of a blank page. However, since the lead needs to accurately capture the essence of your article, it’s helpful to have the rest of your piece developed before attempting to summarize it.

Leads are surprisingly challenging to write, but when done well, they make an article sing.

When you’re able to communicate a message quickly — whether it be yours or someone else’s — your words will reach more people and make a bigger impact in the long run. ◆

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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.

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

This <a target="_blank" href="https://journalistsresource.org/home/syllabus-feature-writing/">article</a> first appeared on <a target="_blank" href="https://journalistsresource.org">The Journalist's Resource</a> and is republished here under a Creative Commons license.<img src="https://journalistsresource.org/wp-content/uploads/2020/11/cropped-jr-favicon-150x150.png" style="width:1em;height:1em;margin-left:10px;">

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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The Journalist's Resource

How to Write a Feature Article

Have you ever wondered what makes feature articles so engaging? Unlike straightforward news, feature articles offer deep dives into topics, presenting a unique blend of storytelling, fact, and emotional connection. This guide will walk you through the nuances of writing compelling features that not only inform but also resonate with your audience.

Essential Elements of a Captivating Feature Article

Step-by-step guide: from concept to completion, optimizing your feature for readers and seo, editing for excellence: refining your narrative, getting published: platforms and promotion strategies, continuous learning and improvement, what are feature articles.

Feature articles bridge the informational gap with flair, offering readers insights into various subjects from personal stories to in-depth explorations of complex issues. They cater to those seeking more than just facts, providing a narrative that draws the reader into a well-rounded experience.

A successful feature article captures the reader’s interest from the start with a compelling headline and a hook in the introduction. It includes:

Engaging Headlines : Craft headlines that intrigue and inform.
Strong Lead : Start with a hook that grabs attention.
Narrative Flow : Maintain a smooth, logical progression of ideas.
Visuals : Use relevant images, infographics, and videos to complement and enhance the text.
Fact-Checking : Ensure all facts are accurate to maintain credibility.
Evaluate Your Story Ideas : Identify angles that are fresh and relevant.
Do Your Research : Gather detailed information from diverse sources.
Choose a Feature Type : Decide the style of feature that best fits your topic.
Craft a Compelling Headline : Make it catchy yet informative.
Write an Engaging Introduction : Set the scene and introduce the main themes.
Develop the Body : Weave facts and narratives into a cohesive story.
Conclude Effectively : Leave the reader with a strong, lasting impression.

Implement SEO best practices to enhance visibility:

Keyword Integration : Use relevant keywords throughout, especially in headlines and subheadings.
Meta Descriptions : Write clear, engaging meta descriptions.
Alt Text for Images : Describe images using keywords.
Readable Structure : Use subheadings and bullet points to break up text and make it easier to read.

Polish your article with thorough editing to ensure clarity and flow. Get feedback from peers, revise for structure and content, and proofread multiple times to catch any grammatical errors or inconsistencies.

Select appropriate platforms that resonate with your target audience and use social media and other digital marketing strategies to promote your article. Analyze the performance to refine future strategies.

Stay updated with the latest writing trends and continuously seek feedback to improve your skills. Consider enrolling in writing workshops or courses to enhance your abilities further.

University Interscholastic League

This is the main content.

Resources & Forms

Feature Leads

UIL Contests

Journalism Contact Info

Journalism Director: Alyssa Boehringer

Department Phone: 512-471-5883

State Champions

View State Champions

The best rule in feature writing is to observe no rules, aside from those of basic journalistic style and structure. The best lead for the feature story is a natural extension of the story - nothing forced or contrived without consideration to the tone or subject of the story. More bluntly stated, the best lead is the lead that is relevant, grabs the reader's attention and fits the mood of the story.

The following are novelty leads. They should be used with caution and never forced to fit a story. When a novelty lead serves the purpose of grabbing the reader and holding his attention while establishing the tone of the story, it should be used without reservation.

Literary Allusion: Relates a person or event to some character or event in literature.

To have been ordered into battle to attack a group of windmills with horse and lance would have seemed to Joe Robinson no more strange an assignment than the one given to him Thursday by Miss Vera Newton . . . (The literary allusion is to Don Quixote.)

Historical Allusion: Relates a person or event to some character or event in history.

Napoleon had his Waterloo. George Custer had his Little Big Horn. Fortunately, Napoleon and Custer faced defeat only once. For Bjorn Borg, the finals of the U.S. Tennis Open have become a stumbling block of titanic proportions. (Or) Washington's trip across the Delaware was child's play compared with Dave Jason's span of the Big Lick River. Astride a six-foot log, he chopped his way across the ice-bogged river yesterday. Contrast: Compares extremes - the big with the little, the comedy with the tragedy, age with youth, rich and poor - if such comparison is applicable to the news event. His wealth is estimated at $600 million. He controls a handful of corporations, operating in more than 20 nations. Yet he carries his lunch to work in a brown paper bag and wears the latest fashions from Sears and Roebuck's bargain basement.

Pun: A novelty that uses a pun to quirk the reader's attention.

Western High's trash collectors have been down in the dumps lately.

Description: (Site)

The road to Nsukka in eastern Nigeria is rutted and crumpled, the aging asphalt torn like ragged strips of tar paper. In the midday heat, diesel trucks hauling cassava and market women to the next town kick up clouds of fine yellow-orange dust that lingers in the air. Strings of one-story cement buildings in dull pastels with brooding eaves hug the roadside here and there marking small pinpoints of commerce; hand-lettered signs proclaim the "Decency Food Canteen," "God's Time Hotel," "Praise the Lord Watch Repairers."

Description: (Person)

Diana Ross is wearing no lipstick. She is lounging around on a hot and muggy late afternoon. The windows are raised high throughout her Fifth Avenue apartment. She is dressed in black short shorts and a matching sleeveless blouse that plunges low in the front. She is also wearing fishnet stockings and burgundy suede boots. Three or four bracelets jangle on her left wrist. Her long nails are the color of pearl, nearly iridescent. She curls up in a corner of the sofa and sips orange juice through her unpainted lips. She is 37 years old, divorced, the mother of three children, who this afternoon are out at the country house in Connecticut. Diana Ross is in town to attend to business: approving and disapproving photos of herself, working on an album. She is, by her own assessment, entering a new phase of self-determination. She thinks of her career in terms of "cycles": the Supremes, Diana Ross and the Supremes, Diana Ross as solo, Diana Ross as movie star, and now Diana Ross as mistress of her own fate. She leans back and puts her hand to her forehead. "There's just so much I don't know about. It's so funny. I was really a pampered, chaperoned, protected teenager - all the way through my twenties. I'm just now beginning to take on responsibility. And it's time. It's right. It's in order. I finally know it's not healthy to be pampered."

Description: (Event)

The air inside the darkened gymnasium is heavy with the heat of an uncommonly prolonged North Carolina summer. Smoke from some tin containers placed around the basketball court lends a touch of mystery to the scene. The thick smoke rolls into the intense light of floor-level arc lamps, then up against a raft of lights hovering like a Steven Spielberg spaceship. Out of the dark, a white-clad figure appears, bounding a basketball. Michael Jordan drives for the basket in one of his many crowd-pleasing moves, ball tucked under his arm, then scooped up and over into the hoop. All of the way to the basket, Jordan's tongue sticks out, curled up in an expression of pure joy at his defiance not only of imaginary defenders but of gravity itself.

Capsule or Punch Lead: Uses a blunt, explosive statement to summarize the most newsworthy feature.

The dream is over. The Beatles are back!

One Word: Uses a blunt, explosive word to summarize the most newsworthy feature.

Awesome. That's the best term to describe the Rattler girls' basketball team, which notched its 15th consecutive win Friday night.

Miscellaneous Freak Leads: Employ ingenious novelty to attract the reader's eye. This list can be extended indefinitely, to the extent of the reporter's writing ability and imagination (tempered only by accuracy and relevance).

For sale: one elephant. The City Park Commission is thinking about inserting that ad in the newspaper. A curtailed budget makes it impossible to care for "Bobo", a half-grown elephant lodged in special quarters at Westdale Park.

Parody Lead: Mimics a well-known proverb, quotation or phrase.

Whisky, whisky everywhere, but 'nary a drop to drink. Such was the case at the City Police Station yesterday when officers poured 100 gallons of bootleg moonshine into the sewer.

Direct Address Lead: Speaks directly to the reader on a subject of widespread interest or appeal.

Do not expect any pity from the weatherman today. He forecasts a continuation of the bitter Arctic cold wave that has gripped the city for a week.

Staccato: Consists of a series of jerky, exciting phrases, separated by dashes or dots, used if the facts of the story justify it.

Midnight on the bridge . . .a scream . . .a shot . . .a splash . . .a second shot . . .a third shot. This morning, police recovered the bodies of Mr. and Mrs. R. E. Murphy, estranged couple, from the Snake River. A bullet wound was found in the temple of each.

Anecdotal Lead : Uses an event to represent the universal experience.

It was 1965 and the Dallas Cowboys were making good use out of an end-around play to Frank Clarke, averaging 17 yards every time a young coach named Tom Landry pulled it out of his expanding bag of tricks. One day, Clint Murchison, owner of the Cowboys, wondered aloud in Landry's presence how successful the play might be if Bob Hayes rather than Clarke ran with the ball. Hayes, after all, was the world's fastest human. "Tom gave a lot of mumbo-jumbo about weak and strong side and I nodded sagely and walked away," Murchison told the Dallas Morning News three years ago. A few weeks later, Landry called a reverse. Bob Hayes got the ball. "We lost yardage," Landry recalled this week, "and I haven't heard from Clint since."

Sequence or Narrative: Places the reader in the midst of action.

Trainer Eddie Gregson was walking 10 feet behind his Kentucky Derby horse, Gato del Sol, when they emerged from the quiet of the stable area at Churchill Downs and began that long trek around the clubhouse turn toward the saddling paddock. There were 141,009 people packed into the Downs last Saturday afternoon - a warm, bright day in Louisville - and thousands lined the clubhouse turn, a few yelling at Gregson as the colt strode by. "What's the name of your horse?" Less than an hour later, that nameless horse stood in the champion's ring.

Then and Now: Shows progress over time.

The Rio Grande once flowed through here, a wide and robust river surging between steep banks as it followed a southward course hugging the state's curvy profile. No more. Four-plus years of drought in West Texas and the neighboring Mexican state of Chihuahua have turned the storied river into a trickle meandering through mud and gravel fields adorned here and there with discarded tires. (Or) The year was 1964. Lyndon Johnson had swept into the White House by the largest landside victory in American history. The Beatles owned the Top Ten. And a 23-year old ex-Marine opened up a small westside Mexican restaurant. Today, Luis Alvarado is a millionaire many times over, and his restaurants are found in cities from Boston to Austin to San Diego.

Question: Serves best when a problem with reader appeal is the crux of the story. The question should have direct relevance to the reader - not a cliché like, "Have you ever been poor?"

You think you have it bad? Consider Ron Mullens. Once vice president of a major real estate corporation, he is today penniless. Once married to a beautiful model, he is now wanders the back roads of America alone, in search of a smile and whatever odd jobs fall his way. You think Ron Mullens is upset by this turn of events? Not on your life. "I gave it all up - the money, the glamour, the security - for the opportunity to see America as it really is," he said. Are you tired of hormone as cultural myth, as shorthand for swagger and machismo, ferocity and obnoxiousness, the bearskin beneath the three-piece suit? Do the ubiquitous references to "testosterone poisoning" and "testosterone shock," to "testosterone-fueled heavy metal" and "testosterone-crazed oppressors" make you feel a bit, well, testy? Do you think it unfair to blame one lousy chemical for war, dictatorships, crime, Genghis Khan, Gunga Din, Sly Stallone, the NRA, the NFL, Stormin' Norman Schwarzkopf and the tendency to interrupt in the middle of a sentence? Ready to give the so-called male hormone a break and return all testosterone clichés with a single pound of a drum? Retire away. As it turns out, testosterone might not be the dread "hormone of aggression" that researchers and popular imagination have long had it. It might not be the substance that drives men to behave with quintessential guyness, to posture, push, yelp, belch, punch and play air-guitar. If anything, researchers say this most frightened of hormones might be a source of very different sensations: calmness, happiness and friendliness, for example.

Quote: As a general rule, avoid quote leads. When used, the quote should be dynamic and capture the theme of the story. The following lead comes from a story about Joely Fisher, who plays Paige Clark on the TV series, Ellen.

"People usually have two completely different opinions of what my life must have been like growing up," said the actress Joely Fisher, 28, a child of the short (1967-69), unhappy union between Connie Stevens, the sex kitten of 1950s TV, and Eddie Fisher, the singer and former matinee idol. "Half think it must have been so difficult, and the rest believe I got everything I ever wanted," added Fisher. "I see my life as wacky yet grounded." She was raised in a mansion in Beverly Hills and was well-fed, well-educated and well-traveled. so what was the problem? An absentee father was a self-confessed drug addict and a mother whom Fisher describes as a "sexpot."

By Bobby Hawthorne Former Director, Interscholastic League Press Conference Please see that Bobby Hawthorne and the ILPC are appropriately credited.

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Education and Communications
Article Writing

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 1,461,524 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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How To Write An Amazing Feature Article In 5 Steps

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Unsure of the difference between a feature article and a newspaper report? Well, it’s time to find out! We will show you the different characteristics of an amazing feature article and how to write one!

To show you how to write an amazing feature article, we’ll discuss:

Characteristics of a feature article.

Different types of feature articles

Language used in feature articles

Research / Planning
Header / Title
Introduction

What is a feature article?

A feature article is a non-fiction piece of writing that focuses on a particular topic. You will find them in newspapers and news sites, online blogs, or magazines.

However, they are not the same as news reports! Whereas news reports are more factual…

Feature articles are more subjective and emotive.

They commonly present information in a more narratorial manner to make them more engaging.

Now that we have a general understanding of what a feature article is, let’s take a detailed look at their characteristics.

A feature article should,

Explore a topic or issue of current importance
Follows narratorial conventions (i.e. There is a plot, complication, and conclusion)
Written in short paragraphs
Combine facts and opinions
Provide a perspective or angle about the topic or issue
Includes catchy features (eg. Catchy title, images etc.).

Different types of feature articles:

There are many different types of feature articles. Each one has a different focus and purpose.

So, let’s see a few examples of feature articles!

eg. ‘ Charlie Kaufman’s debut novel, ‘Antkind’, is just as loopy and clever as his movies ‘
eg. ‘ A Former High School Football Player Dove and Caught a Child Dropped From the Balcony of a Burning Building’
eg. ‘ How to Tie Dye ‘
eg. ‘ My 2019 UCAT Experience ‘
eg. ‘ Why Australia Day is really held on 26 January and the push to change the date ‘ or ‘ Thanksgiving 2020 – Date, history behind the holiday and what time is Macy’s Thanksgiving Day Parade ?’
eg. ‘ Craziness behind the scenes at the White House ‘ and ‘ Two Former McDonald Employees Spill Insider Secrets About Working at the Fast Food Chain ‘

Note : There are many more different types of feature articles. You’ll want to research the genre specific for the task you’ve been set.

Before we go into the nitty-gritty details for writing feature articles, you need to know what skills and techniques you need to acquire in order to write a feature article!

Share your opinions
Show your personality (eg. humourous, serious…)
Use semi-formal language (i.e. some colloquialism)
Use emotive language
Refer to the audience in second person language (eg. “you”)
Use literary and rhetorical techniques to engage the reader (eg. rhetorical questions, anecdotes, imagery…)
Don’t overuse adjectives or adverbs . Use strong verbs and nouns to describe, instead of adjectives and adverbs.
Use facts, quotes and jargon to add authenticity
Make sure you write in the active voice

blog-english-how-to-write-a-killer-feature-article-opinions

How to write an amazing feature article in 5 steps

Now that we know what a feature article is, let’s see what you need to do in when writing an amazing feature article:

Step 1: Research and Planning

Remember, feature articles are still based on factual information. So, it is vital that you research your topic very well and that you carefully plan out what you want to write.

We will need to research, plan and research again!

Once you’ve thought about the topic you’ve begin, or decided which issue you would like to discuss, you’re ready to get stuck into researching.

a. Research the general topic

This step is all about reading different perspectives and information about your chosen topic.

Doing this will help you take an informative stance on your topic.

See which perspective interests you most, or which one you agree with most. Also, take into account of the amount of strong evidence you can find for your feature article.

b. Narrow your focus and plan

Now, it is time to take a stance and start planning your feature article!

Here are some points you need to consider when you are planning:

What type of feature article do you want to write?
What is your stance on the topic?
Who is your target audience?
What is your article about?
Why are you writing about this topic? (i.e. purpose)
Chronologically?
Level of importance?
Like a narrative?

Note : The purpose of your feature article can be to convince, evoke sympathy or anger, praise or even to educate. It is up to you to figure out what you want to say about the topic.

c. Research evidence

Now, it is time to research some more and gather some evidence to support your feature article.

Feature articles are supposed to help readers really understand and feel your story.

So, to do this, you must ensure that you spend this time to really flesh out your story and get a good grasp of what you are writing about.

Here are some examples you should look for:

eg. “ According to Cancer.org , 1960 Australians died from skin cancer in 2016 “
eg. “ Brendan Thomas will not be deported to New Zealand because he is an Indigenous Australian and is protected by the new law “
eg. “ Professor Gabriel Leung, Expert on COVID-19 Epidemic from Hong Kong University , says that COVID-19 could ‘infect 60% of global population if unchecked'”
“ From the live interview with Holocaust survivor.. “

blog-english-how-to-write-a-killer-feature-article-hero-quotes

Step 2: Header / Title

Feature articles are known for their eye-catching headers!

Let’s take a look at 2 headers. Which title would you click on first?

“ Rising film director, Sherrice, just released a provocative stop-motion piece that will change your view about fast food! ”

“ Film director, Sherrice, just released a stop-motion piece about fast food ”

The first line is more catchy because it uses emotive language and it directly addresses the readers.

So, how do you write catchy headlines?

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

Step 3: Introduction

Like your title, your introduction also needs to ‘hook’ in the readers.

They set the scene and draw interest from the audience.

Think about a narrative’s 3 Act Structure:

The opening act sets the scene and captivate the audience’s attention
Act 2 is where the action and the major complication occurs
The 3rd act is the conclusion. It ‘solves’ the problem.

Feature articles function in the same way.

However, unlike a narrative, feature articles’ introductions are very brief and short. They should never be longer than 15% of your whole article.

So, how do you write effective introductions to feature articles:

Make an interesting and provocative opening statement to draw reader’s attention
Briefly introduce the topic and purpose
Establish a relationship with your reader through your language (eg. second person language, rhetorical questions…)
Create intrigue and interest by foreshadowing your points or challenging your audience
Provide background information about your topic

Take a read of ABC journalist, Stan Grant’s introduction from ‘Anger has the hour’: How long must Indigenous Australia Wait for Change?

“How long must Aboriginal people wait? How many “turning points” must there be, before we stop believing?

Time is something Indigenous people do not have, not when we die 10 years younger than the rest of the population. Every year lost is counted in graveyard crosses.

Yet the Federal Government says there will likely be no referendum on Indigenous constitutional recognition this term of Parliament. Three years since the Uluru Statement from the Heart laid out a vision for Australia — Voice, Treaty, Truth — and we are told still to wait.

That is three years lost; a wasted opportunity to finish our unfinished business. First Nations people asked Australians to walk with us for a better future, yet we cannot get beyond those first steps.”

You see, Grant draws the audience’s interest by asking provocative rhetorical questions that hints at his stance about the topic.

He then provides background information about his topic to inform his audience about the issue. However, notice how he does this in an interesting and engaging way.

Grant uses literary techniques like tricolon (eg. “Voice, Treaty, Truth”), metaphors (eg. “year lost is counted in graveyard crosses” and “First Nations people asked Australians to walk wth us for a better future, yet we cannot get beyond those first steps”) and the motif of steps (eg. “walk with us” and “first steps”).

blog-english-how-to-write-a-killer-feature-article-relationship

Step 4: Body

Now, let’s move onto the main part of your feature article.

The body of your feature article is where you write all of your juicy information.

This is where the story unfolds and you share your opinions.

So, let’s get started and see what you need to do in your feature article body paragraphs.

a. Show don’t tell

‘Show, don’t tell’ is a commonly taught writing technique. It requires students to describe and ‘show’ what is happening, instead of simply recounting (‘telling’).

Let’s take a look at an example:

Tell : Johnny was tired after he ran up the hill.
Show : Johnny’s legs were aching as he forced himself up the hill. He was struggling to catch his breath and his cheeks were red and puffed up.

Notice the difference? The second line is much more engaging and descriptive, and we feel more connected to the character.

As such, you need to ‘show’ your information to make your article more engaging and interesting to read.

Remember, a feature article is much more colourful than a newspaper report.

So, let’s learn how to ‘show, not tell’:

Write vivid descriptions and imagery
Rely on the different senses to describe (i.e. sight, touch, smell, hearing, taste)
Use literary techniques
Don’t state emotions (eg. ‘He is happy’, ‘She was excited’ or ‘That was scary’)
Use strong verbs and nouns, instead of adverbs and adjectives (eg. ‘sprinted’ instead of ‘ran fast’)

b. Be creative

In other terms, use rhetorical and literary techniques! Using these techniques will help you achieve your purpose and simultaneously engage the audience.

For example, if you want to evoke sympathy from the audience, you can use emotive language and hyperbole:

“Big, brute boys brutally beat small neighbourhood boy until he was unrecognisable”

Or, if you want to convince the audience, you can use high modality words and an imperative voice:

“The time to take action is now! Get your phones and fill out the survey now”

So, what are some techniques that are commonly used in feature articles:

If you want to find more techniques, or learn more about the listed techniques, take a read of our English Literary Techniques Toolkit .

c. Support your opinions

Remember, a feature article isn’t just a story… it is also an article! This means that you will need a set of strong evidence to support what you are saying.

We already went through the various types of evidence you need for a feature article:

Case studies
Quotes from critics or experts

So, ensure you use a variety of different evidence and use it across your whole feature article.

blog-english-how-to-write-a-killer-feature-article-evidence

Step 5: Conclusion

We are at the final stage of your feature article!

Too often, students neglect the conclusion because they think it’s unimportant in a feature article.

However, it is quite the opposite.

Conclusions are especially important in feature article because they summarise your ideas and stance, and ultimately inspire your readers to take action.

So, take your time to quickly summarise your article and add a call to action (i.e. tell your audience to do something, either explicitly or implicitly).

Let’s take a look at News.com journalist, Emma Reynold’s conclusion: “ Craziness Behind the Scenes at the White House ”

“ Three levels of the imposing White House are visible above ground, with the rest beneath. The basements include workrooms, bombs shelters and a bowling alley.

I’m told to look out for the famous red-tailed hawks that live in the rafters of the building. While squirrels are a common sight outside the gates, not many survive within.

Back on Pennsylvania Avenue, I note the absence of sewer grates or rubbish bins, a precaution against bombs.

Clearly, there is a strong consciousness of danger here. But it’s covered with a Disney smile. “

Here, Reynold summarises her experience at the White House and comes to a final conclusion.

She also uses rhetorical and literary techniques to engage her audience and make her conclusion more memorable.

For example, we see a metaphor with “while squirrels are a common sight outside the gates, not many survive within [the White House]”, drawing links between squirrels and common people.

She also uses framing (her introduction refers a ‘Disney star’), allusion and metaphor in her final line: “But it’s covered with a Disney smile”.

Furthermore, Reynolds also implicitly warns us to be aware and critical of what is truly happening in the White House. This is her call to action.

This is what you need to do with your conclusions too!

Written by Matrix English Team

© Matrix Education and www.matrix.edu.au, 2023. Unauthorised use and/or duplication of this material without express and written permission from this site’s author and/or owner is strictly prohibited. Excerpts and links may be used, provided that full and clear credit is given to Matrix Education and www.matrix.edu.au with appropriate and specific direction to the original content.

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

Have you dreamt of becoming a famous feature article writer do you acquire your muse from writers like maya angelou, ketaki desai , rishab raj, shivani vig, and other popular feature writers have you ever felt writing as a tool for reflection then, this article will teach you the fundamentals of what makes a good feature article and how to write one. it is better to learn more about feature articles before learning the strategies on how to write a feature article. so, here we go.

What is a Feature Article?

A feature article, according to Dictionary.com, is a daily or fortnightly article or report about a person, event, frontage of a major event, or the like. This writing adds a personal touch, and quite often, it is written in a discrete style. It can be a news story, the main or most prominent story in a magazine. A feature article is no doubt an article inscribed to give a piece of in-depth knowledge to events, people issues, or news. A proficient person or a journalist can write a feature article. Their writings will provide background information on a significant or a noteworthy topic, and the article will include the writer’s angle or his/her experience.

Difference between News Article and Feature Article

It is not a news item or advertisement. It is a common fact that people get confused with news articles and feature articles. We get confused with news and features and always think of the dos and don’ts of writing a feature article. All are aware of feature articles in Sunday newspapers, but where does the difference lie?

News is always instant information, and this needs to reach the mass as breaking news without wasting time. A news article should be concise and clear and finally, the writer should stick to the point directly. A news story offers information about an event, idea, or situation.

The article should cover all the “W” (who, what, when, why, where) and “H” questions, which any reader would like to know. News items generally do not add much spice or any additional information to entice the reader. Readers are spared with extra material or statistics, and as far as possible a writer will use adjectives sparingly. In a nutshell, the introduction will summarise the story for the benefit of the reader.

The source and slant of the writer can include slight variations but should not cover more than one approach. The news writer or a journalist can use an inverted pyramid structure. The writer prefers to present the most important information as an introduction or they can be considered as a conclusion as well. This will help a writer exemplify how the news can be prioritized and structured.

A feature writer adds depth, wisdom, and color to the story and may entertain or instruct. In short, writing a feature article can be like adding jaggery to gulp bitter gourd. It can be like a stimulant or a catalyst. A feature article is a longer article compared to the news. It is all about lettering a human-interest story to match the target audience. A feature article is written after an event. So, naturally, they try to provide more and more information about the event, or else they give a different perception or a changed viewpoint.

The main aim of a feature writer will be to analyze, broaden the understanding, and give different approaches to a reader. Remember to note that a feature article is a non-fiction piece of writing.

Where do we find feature articles?

A feature article is published in newspapers, magazines, and online blogs , and they add an emotional touch. They are more personal. As a writer, when you write a feature article, it is good to make it more narrative and more appealing for the readers.

If you want to become a professional blogger, then learn from the experts with the Best Online Content Writing Course

Different Types of Feature Articles:

Before starting to write a feature article, different articles and their characteristics will give you the insight to decide, which type to choose before you pen your thoughts to words. Every article should be the voice of a writer and the other characters or places or incidents. Now start thinking of writing a feature article and understand the different types before you shake your thoughts into words.

Types of feature stories : Each article has a divergent focus, and the motive also changes.

⮚ Human interest stories: In this kind of feature article, the emphasis is given to a person or a set of people. Such an article emphasizes a dramatic incident. Normally, the focal point will be emotion first and later on the information.

⮚ Colour Stories : Describe a location using life and blood, so that the reader can visualize the same in this kind of feature article. A news story can be written in this form to transport the feel.

⮚ News Feature: This is the m ost popular kind of feature article in the newspapers. It conveys news, motives and implications, and consequences.

⮚ Informative Feature: For this article, the writer conducts an interview, research, data compilation for data, and of course, relies on personal observation. The writer tries to add human stories and give information and education. It offers interesting information and guides the reader.

⮚ Historical Feature: This type of feature article is for those, who are good at dates, chronology, turning points in history. The main motive of this feature article is to rekindle memory to invoke interest.

⮚ Lifestyle Feature: The most widespread feature articles people look for. How to live healthily? How to grow vegetables?

⮚ Scientific Feature : As the name suggests, this feature article voices on science policy and topics related to current topics.

⮚ Interpretative Features: Political, social, and economic problems could be touched upon, while writing this feature article. Interpretative feature articles provide details, direct, and shed light on the context of specific issues.

⮚ Review: Review of books, film, and music, etc. This article should highlight why a particular genre is good or extremely good and the specific reason for this extraordinary or ordinary nature.

⮚ Behind the scenes: This article gives a reader a revelation about the backdrop scenes, or the reader can pry into the behind scenes.

Now you are familiar with different types of feature articles and the next step is to progress a set of skills required to write, organize and edit a feature article before writing a feature article and get set to write a feature article.

Why do you write a feature article ? It is either to instruct, persuade or entertain the readers. Do not miss the fact that feature articles are longer pieces of writing that range from opinions, issues, experiences, and ideas.

How to Choose and Tempt the Audience When You Write a Feature Article?

It is a common fact that there are thousands of newspapers, magazines, and print media in the market flooding articles with online material. It can be considered as an uphill task to pitch the right audience and to get noticed in this market.

How to break this discord and attract the audience is to offer the target audience a noteworthy article that is of interest which speaks a lot. Once the target audience is decided, think of their age, status, attitude, culture, and lifestyle. As a writer, you have to know their thought process, language, and vocabulary.

As a next step, you have to analyze the topics of interest for that selected audience. Technology, travel, health, home travel are striking topics for features since they can be used in specific sections of newspapers or weekend magazines. Feature stories are frequently published in trade publications, usually as special supplements.

Steps to writing a feature article to keep the reader on tenterhooks

● The first point is to choose the right topic and the word limit of the feature article. Is the topic relevant and of interest or can this topic hold the breath of the audience until the last word? Do not exceed the word limit (minimum 1500 and maximum 4000 words).

Briefly, discover a topic of existing importance. Further to that, think of a topic that sells and start forming great ideas that are exclusive. The brainstorming technique will help you bring out the best, and this technique will ensure you have a free flow of ideas. Understand the purpose of writing that can take you to the next step of writing.

● Research the topic and it all depends on your research. Find out what strikes and how well you can produce it. Read, read, research all aspects and perspectives of the topic, and give an edifying stance.

Mind mapping techniques will allow you to channelize your ideas and thoughts. How do you do that? After your research and free flow of your ideas or overflow of ideas, create a central theme that will allow you to write. Of course, you can branch your central idea with different color codes and keywords, and colorful images to start with a bang and get inspired.

More and more branches will make you more confident and with an organized flow of thoughts. Establish your principle and remember that is the meat of your article.

● Narrow down your plan : Think of the target audience and what type of attitude do they like and what is your attitude towards that topic? Start thinking of all the Ws and H (who, why, what, when) and find out the answers for these common elements. Your battle is half won if the major reason for writing this article or the drive to write this feature article can answer all these questions.

● Structure your astute ideas : Sequence them logically and according to the level of significance.

Now you are ready to start painless writing. Your writing process is also complete, and now time to start writing a feature article of your choice, your passion, and your ideas at your fingertips. Before you put words into life, it is better to know the language used to write a feature article.

Linguistic or language usage in feature articles:

● Use semi-formal language (not formal and not informal) with a human touch

● Sprinkle sentiments, emotions, and feelings

● Use second person singular when you address the audience

● Adjectives and adverbs can be used sparingly but use action verbs

● Do not forget to use statistics, facts

● Quotes give a better edge or slight superiority to your writing

● Write in active voice

● Use literary techniques to create a special effect for a deeper meaning. This divulges the authors’ motivation.

● Rhetorical questions can invoke interest and allow the reader to think and increase certain insight.

● Anecdotes, imagery, and certain jargon are other language techniques that you can try.

Now you are ready to start writing with more tips to chisel and delve deep into writing.

How will you structure and organize a feature article?

Headline: A good introduction is the root of your writing. The publicity of your article lies in those first lines. Grab the attention of your reader with a catchy introduction or try to hook the reader’s interest. In the introductory lines, the main point is emphasized or highlighted.
Subheading : Expresses a perspective or point of view of the author and it is also called a deck . This is the second attempt of the author to tempt the reader. The gist of the article inscribed will allow a reader to be hooked on your article.
By-line : You can express your identity using a by-line and introduce the persons who helped you for an interview or a survey.
Hook -: An intriguing initial sentence that will hook readers’ attention and keep them reading. It could be done by using an example, a metaphor, a rhetorical question exactly like how Barak Obama grabs the attention with his rhetorical questions. This paragraph develops on the hook and sets the tone of your article.
Introductory paragraph

This paragraph develops the hook and sets the tone for the rest of the article and defines the tone and focus of the article. The opening paragraph opens with a scheming, plot, or intrigue. You can win the heart of the reader and make them hold their attention with this paragraph. Do not forget to set the section and bring life into those words.

● Paragraph two of the body: the first main topic . A description of how this person or problem has benefited society. In the author’s own words, this should be an interpretation of events or how to stick to the genre you have selected. Show and try not to speak.

● From paragraph three onwards , more major points are offered to clarify to inform about vital events or accomplishments about the person/issue. The reader is more clear with more details using facts, evidence, and quotations.

These pose difficult questions to the reader and include their responses. Paragraphs, photographs, tables, diagrams, and graphs are frequently used to present information in feature articles to present facts or proof to back up the content or support the author’s interpretation and explanation of the text person/issue/events.

● Summary: Now you are ready to summarise the article. The final paragraph should create a lasting impression by reminding the reader, the article’s core point and suggesting a suitable course of action, and promoting a shift in standpoint or attitude.

This should prompt the reader to take a feat or encourage taking a deed. The reader should be able to confirm that the article is ready for a conclusion. Now, you have gulped the capsule to set and write a feature article.

● Reread and Edit: This is the most important step of the writing process before you write a feature article.

Revision and editing are important processes of writing. Editing suggests the chance to see a clear picture, evidence, specifics, fix the language glitches, and polish the article.

Editing will help you to find out grammatical errors, typos, repetitions, and even dull writing the bugs in writing. This is sure to guide and bucket the thoughts to give a long-lasting impression of the feature article. Final editing and polishing will help you to find out whether you have put in your ideas succinctly and impactfully and whether you were able to connect the dots.

Learn about editing and proofreading here.

4 Personalities of Writing to Reduce Writer’s Block .

Madman, architect, carpenter, and madman. .

A madman creates ideas exactly like a madman. The architect gives the writing structure by moving paragraphs around and looking at the plot. The sentences, phrases, and word choices are being crafted by the carpenter. The judge removes elements of the document that aren’t required. This article will remove the block and help you to write a feature article.

Here are additional tips to become an ace before you write a feature article:

▪ Be relaxed and conversational

▪ Keep it simple

▪ Short sentences and vary sentence length

▪ Paint a picture

▪ Spice up your writing

▪ Voice your opinion

▪ Smooth your writing by using transitions

▪ Don’t judge the first draft

▪ Always rely on peer editing

▪ Don’t write in the same tone

▪ Don’t put all the interesting facts at one go

▪ Harness the power of comma and punctuation

▪ Don’t dump information

Now you have the style, grace, and power of expressing your thoughts clearly and enlivening your writing with vivid images. It is an inborn talent that requires a knack and relevant guidelines to convert your thoughts into words that become a reader’s delight. This article is to reinstate the writing process and try to refresh your memory and change your writing blocks and procrastination habits to write a feature article.

Now you are ready to start your dream job or have a go. Good luck and best wishes!

Scope of Feature Article Writing:

Newspapers, magazines, and social media are employing freelancers and regular columnists. Print and online media depend on freelancers for making their publications interesting and noteworthy.

The work from home concept is gaining momentum. Hence, it is beneficial for a featured columnist to be in their comfort zone and earn at leisure. Any individual with a flair for writing and a good grasp of language and creativity can make a decent living.

A feature article writer can choose any genre of your choice and if you are consistent and stick to the timeline with utter sincerity, then nothing can pull you behind. Freelancers are in demand and make use of your painless writing techniques.

Frequently Asked Questions

1. Is a feature article different from a blog?

Yes, it is different. While feature articles are published digitally and in print, blogs are published only online.

2. Is feature writing well as a career?

Yes. With the present changes in the world, it has got ample scope. If your writing style is exclusive, then you have more possibility to be popular.

3. What are the basic steps for new writers?

✔ Include all the fundamentals of writing (who, what, where why, when, and how)

✔ Plan and organize your writing

✔ Include your viewpoint

It is a fact that writing entails basic principles. It is good to master the rules. This will help you make your foundation before you venture into different kinds of writing. As stated before, writing a feature article is more than facts and includes interesting facts, and recall the points stated in this article before you write a feature article.

It is of paramount importance to add a dimension of human touch and make it more pleasing. This article has guided you through the steps to write a feature article and touch the chords of the readers.

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How Feature Writers Use Delayed Ledes

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A lede, usually used in feature stories , that can take several paragraphs to begin to tell a story, as opposed to hard-news ledes , which must summarize a story's main points in the first paragraph. Delayed ledes can use description, anecdotes, scene-setting or background information to pull the reader into the story.

How Delayed Ledes Work

A delayed lede, also called a feature lede, is used on feature stories and allows you to break free of the standard hard-news lede, which must have the who, what, where, when, why, and how and outline the main point of the story in the very first sentence. A delayed lede allows the writer to take a more creative approach by setting a scene, describing a person or place or telling a short story or anecdote.

If that sounds familiar, it should. A delayed lede is much like the opening of a short story or novel. Obviously, a reporter writing a feature story doesn't have the luxury of making things up the way a novelist does, but the idea is much the same: Create an opening to your story that will make the reader want to read more.

The length of a delayed lede varies depending on the kind of article and whether you are writing for a newspaper or magazine. Delayed ledes for newspaper feature articles generally last no more than three or four paragraphs, while ones in magazines can go on much longer. The delayed lede is generally followed by what's called the nutgraph , which is where the writer explains what the story is all about. In fact, that's where the delayed lede gets its name; instead of the main point of the story being outlined in the very first sentence, it comes several paragraphs later.

Here's an example of a delayed lede from the Philadelphia Inquirer:

After several days in solitary confinement, Mohamed Rifaey finally found relief in pain. He would wrap his head in a towel and whack it against the cinder-block wall. Over and over.

"I'm going to lose my mind," Rifaey recalls thinking. "I begged them: Charge me with something, with anything! Just let me out to be with people."

The illegal alien from Egypt, now finishing his fourth month in custody in York County, Pa., is among hundreds of people caught on the wrong side of the domestic war on terrorism.

In interviews with The Inquirer inside and out of jail, several men described long detentions on minimal or no charges, unusually stiff bond orders, and no allegations of terrorism. Their tales have worried civil libertarians and immigration advocates.

As you can see, the first two paragraphs of this story constitute the delayed lede. They describe the inmate's anguish without explicitly stating what the story is about. But in the third and fourth paragraphs, the angle of the story is made clear.

You can imagine how might have been written using a straight-news lede:

Civil libertarians say many illegal aliens have recently been jailed recently as part of the domestic war on terrorism, despite the fact that many have not been charged with any crime.

That certainly sums up the main point of the story, but of course, it's not nearly as compelling as the image of the inmate banging his head against the wall of his cell. That's why journalists use delayed ledes — to grab a reader's attention, and never let go.

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9 places to nosh on bagels in southern Maine

From old-school spots to foodie favorites, there's a 'hole' lot to try.

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Bread and bagels at The Works Cafe in downtown Portland. Photo by Aimsel Ponti

From New York-style boiled bagels to Montreal-inspired wood-fired ones, there’s lots of great bagels in southern Maine and several shops have the accolades to back that up.

In 2023, Bon Appetit named bagels from Rose Foods and Rover Bagel among the best in the country.

Two years before that, Food & Wine Magazine put Rover, Forage and Scratch Baking Co. on its list of best bagels in the U.S.

Whether you like yours toasted with cream cheese or as the bread for your breakfast sandwich, you can find plenty of styles and flavors from Biddeford to Brunswick.

BEACH BAGELS

The offerings at Beach Bagels include a French toast and marble bagel, and the cream cheese menu comprises spreads like strawberry, olive and honey walnut. Along with breakfast sandwiches, Beach Bagels has hearty breakfast options like omelets and pancakes. Best of all, you’re steps away from a beach stroll. Just don’t let the seagulls steal your bagel. Advertisement

WHEN: 7 a.m. to 3 p.m. daily WHERE: 34 Old Orchard St., Old Orchard Beach. beachbagels.yolasite.com ______________

Dutchman’s opened in 2022 as a pop-up housed at Nomad pizza in Brunswick’s Fort Andross building. It’s since become a permanent fixture there and uses the pizzeria’s wood-fired ovens to bake its bagels. The hand-shaped, honey-boiled bagels come in plain, roasted garlic, poppy and a bagel-of-the-day flavor.

WHEN: 8 a.m. to 1 p.m. Thursday to Sunday WHERE: Fort Andross, 14 Maine St., Brunswick. dutchmans.me ______________

FORAGE MARKET

Making bagels at Forage Market involves a two-day aging process. The bagels are naturally leavened with wild yeast starter and baked next to a hardwood fire. There are usually five flavors available, including sesame and garlic. Breakfast sandwiches (including vegan options) are available. Forage also has a location in Lewiston. Advertisement

WHEN: 7 a.m. to 1 p.m. Monday to Friday, 8 a.m. to 1 p.m. Saturday and Sunday WHERE: 123 Washington Ave., Portland. foragemarket.com _____________

MISTER BAGEL

There are 10 or so Mister Bagel locations in Maine, including South Portland and Falmouth. It all began with the Portland location, which was the first bagel shop to open in Maine. The late Rick Hartglass started Mister Bagel in 1977, and it is still a family business. Music fans will appreciate the breakfast sandwich menu, which includes The David Bowie (bacon, egg and American cheese), the Jimmy Buffett (egg with roast beef and cheddar) and The Lady Gaga (avocado, salt and pepper, with or without egg).

WHEN: 6:30 a.m. to noon Monday to Friday, 7 a.m. to noon Saturday and Sunday WHERE: 599 Forest Ave., Portland. misterbagelforestave.com ______________

At Rose Foods, the menu varies depending on the day, but there are usually six to eight flavors available. For example, should you pop in on a Friday, you’ll find a poppy and onion bialy (a cousin of the bagel that is not boiled). Rose Foods also makes a number of bagel sandwiches, including the Classic Nova with Nova lox and the Classic Whitefish. Advertisement

WHEN: 7 a.m. to 2 p.m. daily WHERE: 428 Forest Ave., Portland. rosefoods.me

______________

ROVER BAGEL

At Rover Bagel, you’ll find wood-fired plain, poppy, sea salt, sesame and everything bagels available most of the time, and the spread game here is strong with cream cheese options like lemon-thyme-honey cream and chili-garlic.

WHEN: 7 a.m. to 1 p.m. Wednesday to Friday, 8 a.m. to 1 p.m. Saturday, 8 a.m. to noon Sunday WHERE: 10 West Point Lane Suite 10-204, Biddeford (Pepperell Mill). roverbagel.com

______________ Advertisement

SCRATCH BAKING CO.

You haven’t lived until you’ve experienced the line of devoted fans waiting for Scratch Baking Co. to open, especially on weekend mornings. Along with the popular Maine sea salt, plain and other everyday flavors, Scratch has a daily special bagel. There’s honeyed rosemary on Wednesday and jalapeno cheddar on Thursday. Scratch is also famous, at least to locals, for its P-Cheese spread. It’s a pimento cheese recipe made with cheddar, mayo, roasted red peppers and seasoning and was passed down to co-owner and head baker Allison Reid by her grandmother, Mern.

WHEN: 7 a.m. to 1 p.m. Wednesday to Saturday, 7 a.m. to noon Sunday WHERE: 416 Preble St., South Portland. scratchbakingco.com ___________

THE MAINE BAGEL

The Maine Bagel is a drive-thru with several breakfast and other kinds of sandwiches available. With a bagel list that features egg and bialy among the standards, the family-owned spot is the perfect place to stop on your way to Pine Point Beach. The Maine Bagel really shines with a dozen kinds of cream cheese spreads, including raisin-walnut, lox, strawberry, cranberry-nut and bacon-chive.

WHEN: 6:30 a.m. to 2 p.m. Tuesday to Friday, 7 a.m. to 1 p.m. Saturday. WHERE: 117 Route 1, Scarborough. themainebagel.com Advertisement

THE WORKS CAFE

The Works Cafe is an institution on the edge of the Portland’s Old Port. It opened in 1990 as Bagel Works before it changed its name in 2002. The original shop in this regional chain opened in Manchester, Vermont, in 1988, and there are 11 locations around New England, though just the one in Maine. Gone are the ’90s-era banana-walnut bagels and cold pizza cream cheese, but The Works Cafe is still a reliable place to grab a salt, multigrain or cinnamon raisin bagel, among others. The menu also has bowls, sandwiches and smoothies.

WHEN: 6 a.m. to 7 p.m. daily WHERE: 15 Temple St., Portland. workscafe.com

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Unhappy Driver With Damaged Car After Accident

‘It felt like a massive scam’: the minor prangs to cars that lead to huge charges

Readers tell us insurance premiums soared and vehicles were written off after the cost of claims soared

Want to know why your car insurance premium has doubled in the past two years? Could the apparently bizarre and wasteful way that car insurers pay claims have something to do with it?

Guardian Money recently asked readers to describe their experience after they had been involved in minor prangs, and the responses – and the figures quoted – are astonishing.

We did so after a reader reported how a £350 minor bump had somehow morphed into an insurer payout of £4,500.

It now appears this was anything but a one-off. We have seen examples of how accident claims management companies are routinely charging £5,000 to provide replacement cars to victims of accidents. We have been told about repairs that it seems should have cost £1,500 to fix but have actually resulted in £15,000 insurance payouts.

We were contacted by someone who works at an “approved” accident centre who has described how minor bumper repairs are inflated from £1,500 to £7,500 by adding unnecessary painting and other unneeded work – all because the work is being paid by an insurer.

Unrecognisable person removing dent from body of red car

The Association of British Insurers says claims bills rose 8% over the past year to reach a record average of £4,800 .

The letters suggest that this over-paying and excessive charging has become the norm across an industry that appears to have lost control of claims.

Arguably worst of all, from an environmental perspective, perfectly good cars are being unnecessarily written off on the say-so of insurers that have not examined the car.

Over the same period premiums rose 33% to an average £635

Anyone who was already cross about their car premium increase – and who already has high blood pressure – should probably look away now.

Minor scrapes, huge bills

Perhaps two of the most ridiculous cases we were sent came from readers BB and LD. BB had a very minor collision with another car in a car park. The Škoda he hit was left with a tiny crack on the front bumper. It was dealt with by the other driver’s insurer. The final bill, which is now on BB’s claims history and has forced up BB’s premium massively, was £7,000.

Meanwhile, LD ran into the back of another Škoda, causing enough damage to require a new bumper but no other work. The final repair bill was a shade under £5,000.

JT, who runs his own franchised car dealer, says he was astonished by the final bill after his wife bumped into her brother’s Audi A3, leaving a mark on the rear bumper and no other damage. “We offered to repair his car and lend him a replacement but his broker advised against this, and instead referred him to an accident management company. Our repairs would have been £1,500. The final bill to the insurer was actually £15,000. This included 11 days’ car hire at £380 a day – a ridiculous figure as even £80 would be high,” he wrote.

“His car could have been used until the parts were available, and the repair only took two days. I asked my insurance company to contest the costs but got a very minor reduction.”

Reader BH’s insurer paid out £2,750 for a minor scuff to the side of the rear bumper to another driver’s car.

“The owner had been quoted £200 from a local garage to fully repair it, but their insurer’s claims management company took it upon themselves to remedy the claim providing a replacement car while the repairs were carried out at a massively inflated amount. A brand new bumper with the same factory colour for the car in question was about £300 with a fitting time of less than an hour. It felt like a massive scam,” he says.

In KW’s case, the repair costs did not seem unreasonable – £2,872 to fix the damage caused to his silver 2008 Ford S-Max after a neighbour reversed into his car more than two years ago. However, the final payout was £7,372. “I foolishly decided to do things by the book and contacted my insurer, which gave me the option of making a no-fault claim with it in which case I would pay the excess, or I could go through a claims management company and pay no excess.”

He opted for the latter, which added a hire car at £128 a day for 35 days, adding up to a rental charge of £4,506. “Unsurprisingly the other party’s insurers contested the claim and it all ended up going to court around two years later. Luckily I had signed an indemnity but it all felt like some sort of game between the insurers and clearly it was a good earner for all involved.”

When a car drove into JA’s red Fiat 500 it caused some significant damage to the rear of the car that arguably justified the £5,550 repair bill. However, even though JA had not asked for a hire car, she was supplied one at a cost of almost £4,800 to the other driver’s insurer – paid for by all its policyholders. The final total bill was £10,300, far more than the car was worth.

Readers have also told how their cars were written off apparently unnecessarily. IV described his daughter’s experience after she had a minor brush with a bus in her Fiat 500. Rather than examine the car or listen to the family’s pleas that the car could be repaired, the insurer wrote off the car, paying out close to £6,000.

“When we contacted a local repairs specialist, they quoted £600-£700 to repair the car, which we forwarded to the insurer. But they were adamant to write it off, without it once being inspected by them or a nominated garage. They refused to sell us the car, to allow us to repair it. When the salvage company came to take it away, they were in disbelief that it had been written off. It seems some insurers would rather just write off a car than have the hassle of organising a repair and courtesy car.”

DG’s car was written off when a road worker did minor damage to the rear wheel arch. The insurer paid out £4,820 for the car, which was recorded as a category N write-off (which means it had no structural damage and can be repaired). He took the money, was able to buy the car back from the insurer for £626 and had it repaired for £300.

Another insurer recently decided to write off an Audi that had suffered a minor scrape and paid out £1,600 on the basis that the repair cost exceeded the car’s value.

Claims management firms

If you are unlucky enough to drive into a black cab, causing a minimal amount of damage – for example, £1,500 worth – the final insurance bill could easily top £50,000, according to one insurance insider who works in motor claims.

That’s if the owner uses one of the unregulated accident management firms that, the insurance insider claims, solely exist to take on claims from drivers who have been driven into, and to “make as much money out of them as they can”.

They advertise themselves to people who have been told that they don’t have to tell their insurer they have been involved in an accident ( you do ) or that they won’t have to pay their policy’s excess. The promise is that they will provide you with a like-for like or better hire car while they repair yours – all done on what is called a credit hire basis.

These firms manage the claim entirely, managing the repair, and presenting the final bill to the other driver’s insurer.

The insider says that once an accident management firm signs up the owner they supply a replacement vehicle at up to £600 a day and then drag the repairs out for as long as possible to maximise the hire charge.

A bill totalling more than £32,000 sent to an insurer

Bills seen by Guardian Money for replacement cars include one or £32,000 – for an 86-day car hire – and another for £22,500.

“Repairs are credit repairs, and cost 25% more than insurer repairs, and double the rate charged by small garages. If we dispute these charges the firms just issue proceedings, so it is often cheaper just to pay them,” she says.

Insurers will often push claimants towards their own accident management firm.

Reader JD’s letter is an interesting insight into this world.

“When I recently made a no-fault claim, I was passed directly to an accident management company, rather than the insurer. They insisted I take out a hire car even though I told them I didn’t need one. The hire car rates were exorbitant and I didn’t want to end up paying them if the other party’s insurer refused to pay. They finally explained that they couldn’t repair my car if I didn’t sign up. The whole experience felt like a scam,” she wrote.

What the insurers say

An Association of British Insurers spokesperson told Guardian Money: “There are a variety of factors driving the increase in the cost of repairs. Cars are much more advanced than they once were with more sophisticated technology. This, and the diagnostic tools and recalibrations required, makes repairs more expensive. Skills gaps and labour shortages are adding pressure to the repair network and delaying the amount of time it takes to fix a vehicle.

“Beyond repairs, claims may also include payments to others involved in the incident or any damage to property. The largest element of a claim can be for personal injuries – which could run into the tens of millions.

“Since the previous peak at the end of 2017, motor insurance premiums have increased 1.3%, in real terms, whereas claims costs have risen by 23% in the same time period. 2023 was a difficult year for motor insurers as they continue to absorb costs rises, with EY estimating that for every £1 collected in premiums, the industry paid out £1.14 in claims and expenses.

“The industry remains committed to taking action and we have recently announced a roadmap to tackle insurance costs, including a combination of actions that industry, government or regulators could initiate or improve.”

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More From Forbes

What you need to know in 2024 about a roth ira.

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What you need to know about a Roth IRA in 2024.

Many well-meaning people take the benefits of a Roth IRA for granted. With the tax benefits of a Roth IRA, modest contributions over long periods can translate into a substantial amount of tax-free income throughout your entire retirement. Those with the highest incomes may dream of the potential for a significant amount of tax-free retirement income, but they often earn too much income to be able to contribute to this type of retirement account. And sadly, their wealth managers are usually too lazy to set up these accounts for them when they are eligible to contribute. The responsibility to set up and fund a Roth IRA falls squarely on the rest of us.

Roth IRA Basics For 2024

A Roth IRA is one type of tax-advantaged retirement account. Unlike a traditional IRA or 401(k), you will not receive a tax deduction for your contributions to a Roth IRA. However, your investments inside a Roth IRA will not only grow tax-free, but they can also be withdrawn tax-free during retirement. (That's assuming you follow a few basic Roth IRA rules).

Should You Contribute To a Roth IRA While You Can?

For 2024, if you are married and filing jointly, each spouse can make a maximum Roth IRA contribution of $7,000 if they have an AGI (adjusted gross income) of less than $230,000. For singles, that number is lower at $146,000. Contribution limits drop if you earn more than these amounts, and you can't contribute at all if you are lucky enough to earn more than $240,000 as a married couple and $161,000 as a single taxpayer. Notice that there is a marriage penalty in play here. It would be great if the income limits for married couples were double those of two single taxpayers.

If your income is close to those threshold limits, consider saving the $7,000 throughout the year into a regular investment account. Then, take those funds and put the maximum amount you are allowed into the Roth IRA when filing taxes, assuming you're eligible to contribute. Saving the money is the hard part, and it is much easier to come up with $7,000 if you have a year to do it rather than when you are staring down the barrel of the Roth contribution deadline (typically right around April 15 each year).

If you age 50 or older you can make catch-up contributions to a Roth IRA each year.

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Biden vs trump 2024 election polls trump leads biden by 1 point latest survey shows, ios 17 5 iphone update now live with important new features, are there roth ira catch-up contributions.

There is an allowable Roth IRA catch-up contribution of $1,000 per year for those who have reached the age of 50, bringing the total contribution to $8,000 for tax year 2024.

The tax-free growth and tax-free withdrawals become more valuable the more time you give your Roth IRA to compound in value. The more your Roth IRA grows, the more potential tax savings you can reap in retirement.

Spousal Contributions To A Roth IRA

Even if only one spouse works in your household, you may still be able to benefit from a Spousal Roth IRA. Whether your life partner is a stay-at-home parent or has chosen not to work, a spousal contribution will allow your household to contribute more to a Roth IRA each year, assuming you qualify for Roth IRA contributions based on the previously mentioned income limits.

Roth 401(k) Or Roth IRA?

If your employer offers a Roth 401(k), this is typically the easier option. You can make contributions right out of your paycheck. The contribution limits are also higher. In 2024, you can contribute $23,000 to a Roth 401(k). The catch-up contribution for a Roth 401(k) is also larger, at $7,500 per year.

If you want to maximize your tax-free income in retirement, you may want to consider fully funding both a Roth IRA and a Roth 401(k).

What Is The Roth IRA Five-Year Rule?

To have full access to your "tax-free withdrawals," you must fulfill the Roth IRA five-year rule. This IRS rule says you can't withdraw your Roth earnings tax-free without owing taxes for at least five years from the beginning of the tax year for which you made your first Roth IRA contribution. This applies even if you are retired and/or older than 59.5.

Of course, you can withdraw all the money you contributed to a Roth IRA anytime. If you've been saving for years and have a substantial amount in your Roth IRA, this rule shouldn't cause much of an issue. On the other hand, if you are starting to invest for retirement at a late age, work with your CPA and fiduciary financial planner on a smart withdrawal strategy so you can potentially avoid unwanted taxation on your Roth IRA distributions.

Can You Get a Tax Deduction for Roth IRA Contributions?

It's shocking, but there is actually something in the IRS tax code that exclusively benefits those in the lower-income tax brackets. As you already know, you typically don't get a tax deduction when contributing to a Roth IRA. But remember, you also don't have to pay taxes when you make withdrawals in retirement. (If you follow the simple Roth IRA rules.)

There is an extra tax bonus for low-income workers who are savvy enough to make Roth IRA contributions. This bonus comes in the form of the saver's credit. If, in 2024, you make less than $38,250, single, or $76,500 as a married couple, you could potentially receive a tax credit for 10-50% of your contributions to a Roth IRA. This credit is a dollar-for-dollar reduction of your taxes owed. A tax credit is more valuable than a tax deduction. You can receive the credit as a refund for those who don't owe taxes.

You don't have to be private plane rich to become a Roth IRA millionaire.

How You Can Become A Roth IRA Millionaire ?

Just for illustration, if you were to contribute $7,000 to a Roth IRA from age 25 until age 70, how much money do you think you would have? You would have contributed $245,000, which is not a small amount. Assuming a 10% annual return, your Roth IRA could potentially be worth more than $1,897,000. All this money can be withdrawn tax-free. If this isn't the motivation to start a Roth IRA today, I don't know what is. The earlier you start investing for retirement, the more likely you are to become a Roth IRA millionaire.

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Alice Munro, acclaimed short-story writer and Nobel Prize winner, dies at 92

A gray-haired woman sits smiling in front of bookshelves

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Alice Munro, the Canadian short story writer who lent mythic proportions to the lives of ordinary people from small, rural towns like those in the Ontario countryside where she spent most of her life, has died. She was 92.

The author’s publisher, Penguin Random House Canada, confirmed on its website Munro died Monday evening at her home in Port Hope, Ontario. A cause of death was not revealed, though the author had been in frail health since undergoing heart surgery in 2001.

Kristin Cochrane, the chief executive of Penguin Random House Canada, paid tribute to Munro in a statement published on the website. “Alice Munro is a national treasure — a writer of enormous depth, empathy, and humanity whose work is read, admired, and cherished by readers throughout Canada and around the world,” Cochrane said.

The statement continued: “Alice’s writing inspired countless writers too, and her work leaves an indelible mark on our literary landscape. All of us at Penguin Random House Canada mourn this loss and we join together with our colleagues at Penguin Random House in the U.S., the U.K., and globally in appreciation for all that Alice Munro has left behind.”

Considered by many to be the finest short fiction writer of her generation, Munro was awarded the Nobel Prize in literature in 2013 , only months after publishing a collection of stories that she said would be her last. She had already received the Man Booker International Prize, the National Book Critics Circle Award in the United States and every top literary prize offered in her native Canada, including its most prestigious, the Governor General’s Award.

Alice Munro, winner of the 2013 Nobel Literature Prize.

Alice Munro, reviewed by L.A. Times: ‘casually impeccable,’ ‘genius’

Alice Munro, who won the Nobel Prize in Literature on Thursday, lives a quiet life in a small town in Ontario, Canada.

Oct. 10, 2013

“Alice Munro is our Chekhov, and is going to outlast most of her contemporaries,” author Cynthia Ozick said some years ago, comparing her to Russia’s 19th century master of the short story. Reviewers often linked the two writers’ names, partly because both had mastered a subtle peeling back of layers to reveal their characters.

Munro wrote about country folk who knew how to gut a turkey, breed foxes and sell medicine door to door, but also knew about unreliable love, family violence and failed attempts at social climbing. Her stories unfold, often in the fictional towns of Jubilee or Hanratty, with a direct simplicity paired with painstaking craftsmanship. She made no secret of the dozens of drafts it took her to complete a story.

“She’s become a virtuoso,” author John Updike, the literary critic for the New Yorker, said in a 2001 interview with the Montreal Gazette. “She manages to get into people’s skin without seeming to dive in, without being ostentatious.”

Several of Munro’s collections were made of linked stories where characters leap across years or decades before the last page. In “Lives of Girls and Women” (1971), she identified some of her favorite kind of women. They were “dull, simple, amazing and unfathomable — deep caves paved with kitchen linoleum.”

A look at the work and life of author Alice Munro

News that Alice Munro, 82, was the winner of the 2013 Nobel Prize in Literature was met with tremendous enthusiasm from her fans in America.

She once explained her attraction to such lives, saying they only appear to be dull. “The complexity of things, the things within things, just seems to be endless,” Munro said. “I mean, nothing is easy, nothing is simple.”

Her best works compare with classic tragedy written in prose form.

“I want to tell a story in the old-fashioned way — what happens to somebody,” Munro said in a 1998 Vintage Books interview. “But I want the reader to feel something is astonishing. Not the ‘what happens’ but the way everything happens.”

There aren’t many happy endings in Munro stories. But there is basic goodness, clearly exposed, in nearly all of her characters. If they lose, they usually lose in love, and carry their disappointments with quiet dignity.

Alice Munro, Nobel winner and a writer’s peerless teacher

The Nobel laureate in literature imparts the invaluable lesson of how to be in the moment as a writer.

“The bleakness of its vision is enriched by the author’s exquisite eye and ear for detail,” Joyce Carol Oates wrote in the New York Times in 1986. “Life is heartbreak, but it is also uncharted moments of kindness and reconciliation.”

Munro attracted international attention without ever leaving home. She lived most of her life in rural Ontario, surrounded by woods and farmland. She noted in interviews that she was raised on the wrong side of the tracks in her hometown of Wingham. As a young girl she could hardly wait to get away from that life, but years of writing fiction set in small towns changed her view.

“I am at home with the brick houses, the falling-down barns, the occasional farms that have swimming pools and airplanes, the trailer parks, burdensome old churches, Wal-Mart, and Canadian Tire,” Munro wrote in the introduction to “Selected Stories” (1996). “I speak the language.”

She vaulted into the mainstream by sheer force of will. Increasingly she was included in the lofty league with her friend Margaret Atwood as well as Carol Shields and Timothy Findley, Canada’s leading fiction writers among her contemporaries.

She referred to herself as compulsive and driven about her work. She wrote every day and set the highest goals. As a beginner in the early 1950s she submitted her work to the New Yorker and was rejected again and again. Her first story for the magazine was published in 1979. After that she became a frequent contributor.

Alice Munro smiles in a shiny dress as she talks to a group

Daniel Menaker, who was Munro’s editor at the New Yorker and later the editor in chief at Random House, referred to her as “a modern and experimental writer in the clothing of a classical writer.”

“You get the feeling she’s trying to help you get at some true emotional psychological insight,” Menaker said in a 2003 interview with the Guardian. As often as not, he said, it leads to “a dark existential uncertainty about what makes people tick.”

Born Alice Laidlaw on July 10, 1931, and raised on a fox and mink farm, a failing family business, Munro was the oldest of three children. Her mother, Anne, was a stickler for “pure” and ladylike behavior, which cramped Alice’s imagination.

Anne Laidlaw developed Parkinson’s disease when Alice was 10. Long-term illness only made their strained relationship worse. Alice left home at 17, torn by guilt, and did not return home during the last two years of her mother’s life.

In “The Peace of Utrecht” (1959), she described a young woman who goes home after her mother’s death. She is defiant but not entirely convincing about the choice she made to leave.

The story, one of Munro’s first blatantly autobiographical works, freed her. From then on she wrote personal stories, a number including uneasy mother-daughter relationships.

Nobel Prize winner Alice Munro has given conflicting signals about whether she will continue to write.

Alice Munro has retired from writing. Or has she?

Before winning the Nobel Prize in Literature, Canadian short story master Alice Munro announced her retirement in an interview with Mark Medley of Canada’s National Post.

Oct. 23, 2013

“The problem, the only problem, is my mother,” she wrote in the autobiographical “The Ottawa Valley” (1997). “She is the one of course that I am trying to get. … To mark her off, to describe, to illumine, to celebrate, to get rid of her.”

When Munro did leave home, it was to attend the University of Western Ontario. There she met her future husband, James Munro, and they married in 1951. The couple moved to Vancouver, where he worked as an executive at a department store. They had three children, Sheila, Jenny and Andrea. Another girl, Catherine, was born without kidneys and died hours later.

While her children were young, Munro wedged fiction writing between housework and her daughters’ naps. Time constraints steered her toward short stories. “I wrote in bits and pieces,” she said in a 2001 interview with Atlantic Monthly. “Perhaps I got used to thinking of my material in terms of things that worked that way.”

In 1963 the Munros moved to Victoria, British Columbia, and opened a bookstore — Munro’s Books — which eventually became a literary landmark.

Family commitments slowed Munro’s writing career. It took her close to 20 years to finish enough stories to fill her first collection, “Dance of the Happy Shades,” published in 1968. She was 37. The book won the Canadian Governor General’s Literary Award in 1969. Munro won the prize again in 1978, 1979 and 1987.

“I feel that I am two rather different people, two very different women,” she said in an interview with Graeme Gibson for “Eleven Canadian Novelists” (1973). “In many ways I want a quite traditional role and then of course the writer stands right outside this, so there’s the conflict right there.”

The social upheavals of the 1960s gave Munro new material to write about. She grew dissatisfied with her husband, and the couple divorced in 1973 after 22 years of marriage. She took an appointment teaching at the University of Western Ontario and reconnected with Gerald Fremlin, a geographer she first met while they were students. They married and in 1976 moved to Clinton, Ontario; each had been raised within a few miles of the town.

Place became a character in Munro’s stories. “I am intoxicated by this landscape,” she wrote, “by the almost flat fields, the swamps, the hardwood bush, by the continental climate with its extravagant winters.”

In dozens of short stories set in Ontario, she combined the “intractably rural” region with the human commotion it hosted — “gothic passions, buried sorrows and forlorn mysteries,” a reviewer for the New York Times magazine wrote in 2004.

At age 60, Munro began writing stories about her contemporaries as they looked back over the past. In “Friend of My Youth,” a collection published in 1990, a number of men and women from Munro’s generation are portrayed as grudging survivors of the sexual revolution, the peace movement and the feminist movement of the 1960s and ’70s. Critics referred to her “mature vision.”

Canadian author Alice Munro in 2009. The Nobel laureate evokes the glory and heartache of ordinary lives in her short stories.

Alice Munro’s quiet, precise works lead to Nobel Prize in literature

By 1998 Munro was at the height of her success. She won the National Book Critics Circle Award that year for “The Love of a Good Woman.” Three years later, she completed “Hateship, Friendship, Courtship, Loveship, Marriage,” her 12th book. It sealed her reputation. She followed it in 2004 with “Runaway,” a collection of three stories that follow the main character, Juliet, from a bumbling 21-year-old with a degree in classics through 30 years of bad love affairs, money problems and a daughter who no longer speaks to her.

“The moments she’s pursuing now … are moments of fateful, irrevocable, dramatic action,” Jonathan Franzen wrote in a review for the New York Times Book Review. “What this means for the reader is you can’t even begin to guess at a story’s meaning until you’ve followed every twist; it’s always the last page or two that switches all the lights on.”

Munro’s final story collection, “Dear Life,” was published in 2012. The following year, she won the Nobel Prize in Literature.

“I write the story I want to read,” Munro told the New York Times. “I do not feel responsible to my readers or my material. I know how hard it is to get anything to work right. Every story is a triumph.”

Munro is survived by her daughters Sheila and Jenny. Fremlin, her husband, died in 2013.

Rourke is a former Times staff writer.

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Alice Munro dead: Canadian short story writer was 92
Family commitments slowed Munro's writing career. It took her close to 20 years to finish enough stories to fill her first collection, "Dance of the Happy Shades," published in 1968. She was 37.