• January 21, 2024

How to Write a Feature Article: Crafting Captivating Stories

Julia mccoy.

Creator and Co-founder

Ever tried your hand at how to write a feature article ? It’s not just about the facts; it’s an art. You’re crafting a window into another world, painting pictures with words that draw readers in and make them care. If you’ve been spinning your wheels, don’t sweat it.

This piece will guide you on how to write a feature article that weaves human experiences into life stories that resonate. From choosing the right angle to hitting hard with an impactful narrative structure, we’ll show how lifestyle features, travel narratives, or profile pieces can turn into compelling reads.

You’ll learn tips for punchy openings and satisfying endings that leave readers thinking long after they’ve finished reading.

Ready? Let’s dive in!

Want to build a real money-making blog, 10x faster with the use of AI? Check out our AIO Blogger course.

Table Of Contents:

What are feature articles, 1. human interest stories, 2. news features, 3. lifestyle features, 4. seasonal features, 5. interview pieces, 6. color stories, 7. profile features, 8. behind the scenes, 9. travel features, 10. instructional features, step 1: evaluate your story ideas, step 2: do your research, step 3: choose a feature type, step 4: select an appropriate writing style, step 5: craft a compelling headline, step 6: open with interest, step 7: be creative with storytelling, step 8: end with a bang, build a solid narrative, structure for impact, edit like a pro, get feedback, start writing feature articles like a pro.

A feature story is not your run-of-the-mill news piece.

It paints pictures with words, captures emotions, and weaves facts into narratives that hit home.

This genre offers readers an escape from the blunt edges of hard news by infusing human experience into storytelling.

The ever-evolving world of journalism reveals just how potent these stories can be when they bridge connections between the subject and the audience.

In stark contrast to straight news, feature stories give you more than who, what, where, and when; they delve into the why and how.

You get richly textured pieces like lifestyle features or travel adventures rather than bullet-pointed briefs on world headlines. They’re akin to a stroll through intriguing alleys rather than a brisk walk down Main Street.

With each paragraph designed to evoke feelings rather than simply relay events, it’s no surprise that people are drawn to such compelling reads.

And remember: at their core, feature stories aim for emotional impact, connecting on levels beyond mere information exchange. To create this effect, writers often employ descriptive language and narrative techniques that have been proven effective over time.

Your role model might be Pulitzer Prize winners or leather-jacket-clad journalists typing away in coffee shops. But whatever form inspiration takes, keep one thing clear: good writing starts with solid research grounded in real-world perspectives.

10 Different Types of Feature Articles

The world of content marketing is diverse and dynamic, offering a wide range of possibilities for entrepreneurs looking to grow their businesses. One powerful tool in your arsenal should be the feature article.

Feature articles come in various forms, each with its unique approach and purpose. Here’s a brief overview of 10 different types of feature stories you can write for your audience.

A human interest story centers on individuals or groups, focusing on personal achievements, dramatic events, or everyday life struggles. The goal here is to evoke emotion from readers and create an engaging narrative around people’s experiences.

News features, arguably the most common type of feature articles, delve into current events providing detailed explanations behind these happenings while examining potential implications. These stories are not just about reporting facts but also providing context and analysis.

Focusing on how life can be improved or enjoyed more fully, lifestyle features offer tips and advice ranging from fitness routines to meditation techniques. They aim to enhance your readers’ lives by offering practical solutions for common problems or introducing them to new ideas that might enrich their day-to-day lives.

These articles focus on events, activities, or topics that are relevant to a particular season, such as holidays, festivals, or seasonal trends.

Whether you’re a journalist or content creator, you probably have a scheduled calendar that designates deadlines for various types of feature articles. One notable advantage of these features is the ability to plan and structure them, a luxury not often afforded with conventional news stories.

In this type of feature, the writer conducts interviews with individuals to gather insights, opinions, and personal stories. The article often presents a narrative based on these interviews.

Color stories go beyond the facts and atmosphere of hard news, often serving as companions to news articles.

Skillful feature writing in this context enables readers to vividly envision the experience of being at a particular event, fostering a deeper understanding of the issues and implications embedded in a story.

Profile features center around a specific person, providing an in-depth look into their life, achievements, challenges, and personality. These articles are like mini-biographies that seek to humanize and bring the subject to life.

Behind-the-scenes features take readers into places or processes not typically visible to the public. This type of article provides insights into how something is made, accomplished, or organized.

Travel features explore destinations, cultures, and experiences. They often include personal anecdotes, recommendations, and practical information for readers interested in exploring the featured location.

Instructional features provide readers with step-by-step guidance, advice, or information on how to do something. These articles aim to educate and empower the audience with practical knowledge.

‘How-to’ features have gained increased popularity, especially in the era of internet ‘life hacks.’ There is now a subcategory of these features where writers experiment with instructional content and share their insights on its practicality.

You don’t need to look too far to find an instructional feature article – you are currently reading one.

These types of feature articles offer diverse ways to present information, capture readers’ attention, and tell compelling stories. Depending on the subject matter and the target audience, writers can choose the most suitable format to convey their message effectively.

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

A feature article is an excellent tool to provide in-depth information about a topic, person, or event. Here’s how you can write one effectively:

The first step in how to write a feature article is to flesh out your ideas. These are the seeds from which your story will grow.

But what if you’re staring at a blank page, bereft of inspiration? This is where renowned publications like The New York Times ‘Trending’ section or The Guardian’s Features can serve as fertile ground for ideas.

However, remember that these sources should be used purely for educational purposes and inspiration – never copy or plagiarize content. The goal here is not to replicate but rather to stimulate your creative juices by reading about diverse topics and unique storytelling methods.

You can also use an AI tool like Content at Scale to generate ideas or topics that are relevant to your niche.

To effectively evaluate potential story ideas:

  • Analyze Trends: What are people talking about? What issues are making headlines? You could use tools like Google Trends or Buzzsumo to identify trending topics relevant to your industry.
  • Understand Your Audience: Know who you’re writing for — their interests, concerns, and questions. Use this understanding as a compass guiding the direction of your stories.
  • Evaluate Relevance and Value: Your story should ideally offer something new — fresh insights, unexplored angles on familiar themes, or practical solutions. Ask yourself how it adds value to the reader’s life before choosing a story.

Feature stories need more than straight facts and sensory details — they need evidence. This can come in the form of quotes, anecdotes, or interviews.

The significance of these elements cannot be overstated as they lend credibility to your narrative while making it more engaging for readers. Hearing viewpoints from various sources helps make your story feel three-dimensional and thus allows you to craft a vivid tale that resonates with your audience.

  • Quotes: These provide direct insights into people’s thoughts and opinions on the subject matter. They give your piece authenticity and add personal touch points which can evoke empathy among readers.
  • Anecdotes: Anecdotal information serves as illustrative examples that breathe life into statistics or hard data points. They help create emotional connections between readers and subjects.
  • Interviews: Conducting interviews gives you access to first-hand accounts, expert perspectives, or unique angles about your topic that could otherwise remain uncovered.

After doing your research, ask yourself what type of feature article you want to write.

Sometimes, this initial decision can shift as you delve deeper into your research. Perhaps you started out intending to write a lifestyle piece about a local sports team’s fitness regimen but ended up focusing on an inspiring interview with an athlete who transformed their health.

This is not uncommon. It’s part and parcel of content writing where story ideas often evolve based on ongoing reporting and discovery. Embrace these changes as they occur – they might lead you down more interesting paths than you initially envisioned.

Selecting an appropriate writing style is a critical step in crafting your feature article. Your choice of language and tone will significantly impact how your audience perceives the information you present.

To help get you started, here are a few tips:

  • Embrace Your Unique Style: Your unique voice is what sets you apart from other writers. Don’t be afraid to let it shine through in your articles! For example, if humor comes naturally to you, consider incorporating it into your piece — provided it fits with the topic and overall tone of course.
  • Use Emotive Language: The power of emotive language should not be underestimated when engaging readers on a deeper level. By using words that evoke emotions or sensory experiences, we can create stronger connections with our audience.
  • Mind Your Adjectives & Adverbs: While adjectives and adverbs can add color to our writing, overuse may make the text seem overly embellished or insincere. Be selective about their usage for maximum effect.
  • Speak Directly To The Reader: In most cases, referring directly to the reader as ‘you’ makes them feel more involved in what they’re reading – like they’re part of a conversation rather than being lectured at.

The power of your feature article lies not only in its content but also in the strength of its headline. A compelling, catchy title can make all the difference between an overlooked piece and one that attracts readership.

In most cases, you won’t have a dedicated subeditor to help craft this crucial element — it falls on you as the writer or marketer to devise an eye-catching headline that summarizes your story while enticing potential readers.

Creating a captivating header requires time and consideration. It isn’t something to be rushed; rather, it should be seen as an integral part of your writing process.

Tips for creating catchy headlines:

  • Create intrigue: Your goal is to pique curiosity without giving away too much about the story’s content. Think mystery novels – they don’t reveal whodunit on their covers!
  • Use powerful words: Words like ‘Secret’, ‘Free’, and ‘Proven’ are known power words, which trigger emotional responses from readers making them more likely to click through.
  • Pose a question: By asking questions related to your topic, you encourage readers to seek answers within your feature article.

Beyond these tips, another effective strategy involves using intriguing quotes from within the story itself as headers. This technique provides context while generating interest in what else might lie within the body text.

The opening paragraph of your feature article is crucial to drawing in your readers and piquing their interest. It’s the hook that can either reel them in or let them off the line, so it needs to be compelling enough to make them want more.

One method you could use is building tension right from the start. This could involve setting up a conflict or problem that will be resolved later on in the article. The anticipation created by this technique can keep readers engaged as they’re eager to find out what happens next.

You might also consider posing a rhetorical question at the outset — something thought-provoking that encourages readers to think about an issue before diving into your story.

Another way to hook your audience is to make an outlandish statement -– one that may seem absurd initially but gets substantiated as you progress through your content. Outrageous claims are one way to grab attention instantly. Just ensure there’s substance behind such statements, or else your credibility will take a hit!

Lastly, try opening with a significant event familiar to most people and then work backward from there. Explain its relevance and context to your overall theme or argument.

No matter which strategy you employ for crafting compelling introductions, remember: Your primary goal should always be capturing reader interest and making them curious enough to continue reading further into your feature article.

Creativity can be a game-changer when it comes to writing feature articles. Unlike traditional news stories that stick to a rigid structure and tone, feature articles offer you ample room for innovation and creativity.

A story should have a beginning, a middle, and an end, but not necessarily in that order. This is particularly applicable to feature articles where there’s flexibility in terms of narrative flow.

In crafting your article, consider playing around with the sequence of information or incorporating elements such as anecdotes or personal experiences that may resonate with your readers on an emotional level.

You could also experiment with different styles — perhaps injecting humor into serious topics or adopting an unconventional perspective on common issues.

While you’re free to explore creative avenues, remember not to lose sight of the core purpose of your feature story: to share valuable information with your audience. The secret is finding the right balance between engaging storytelling and delivering insightful content.

Content Hacker provides more insights into this aspect.

  • Risk-taking: Push boundaries by experimenting with unique ideas or formats that deviate from conventional norms.
  • Audience-centricity: Tailor your creative approach based on what resonates best with your audience – their preferences matter!
  • Balanced approach: Creativity shouldn’t compromise clarity; ensure all key points are effectively communicated within the creative framework.

The best feature writers always leave a little something for the reader at the end of their article. This could be a powerful conclusion or an element that ties everything together, but it’s crucial to provide some sort of closure.

This gives your audience a sense of satisfaction upon finishing your piece and makes them anticipate future articles from you.

The order in which you follow these steps isn’t set in stone, especially if you’re new to this type of writing. However, they should serve as a solid starting point when creating feature articles.

In time, you’ll develop your own style and voice that suits both you and your content perfectly.

Finding success with long-form content like feature articles can do wonders for growing sustainable businesses online — a strategy we wholeheartedly advocate at Content Hacker!

Tips on How to Write a Great Feature Article

Writing a great feature article requires a combination of creativity, research, and effective storytelling. Here are some tips to help you craft a compelling feature story:

Your feature article isn’t just sharing information; it’s telling a tale. With every line, you’re guiding readers on a journey that has them hanging onto every word until the very end.

A solid narrative arc is like a map through uncharted territory. It starts by setting up expectations in the beginning, building interest in the middle, and tying everything together at the end — a perfect circle of storytelling mastery.

We all know a good story grabs you from the start and sticks with you long after it’s done. The same goes for feature articles. When writing an engaging opening paragraph, think of it as your chance to invite readers into a conversation they’ll want to stick around for.

An outline shouldn’t be rigid but rather serve as guardrails keeping your thoughts aligned so that each section smoothly transitions into another without losing focus.

The structure of a feature article should feel natural — like listening to an old friend recounting an adventure.

Editing is where good writing becomes great, and a sharp editor’s eye can transform your feature article into a polished gem.

Crafting an article isn’t just about putting words on paper; it’s also about refining those words until they sing. The editing process demands that you scrutinize each sentence for grammar and spelling errors to present the most professional version of your work. Remember, even Pulitzer Prize winners revise their drafts — so should you.

A key stat to keep in mind: clear and coherent articles are more likely to hold the reader’s interest from start to finish. When revising, read aloud to catch any awkward phrasing or inconsistencies that could disrupt the flow.

While spellcheck helps, there’s no substitute for thorough proofreading. Typos can undermine credibility faster than factual inaccuracies. Take the time you need — every error you catch now is one less hurdle for your readers later on.

You’ve crafted sentences like a pro, but another set of eyes can offer new perspectives. Seeking feedback before finalizing your work allows you to see how others perceive what you’ve written.

Remember that the writing process doesn’t end when you put down the pen; it continues through editing and fine-tuning based on constructive criticism.

Mastering how to write a feature article means diving deep into human stories. It’s about painting vivid pictures and touching hearts. You’ve learned the craft of choosing angles that resonate, structuring narratives for impact, and bringing out your unique voice.

You start with curiosity, build on solid research, and weave in compelling interviews.

Then you edit with precision — every word matters.

Your story breathes life when it reflects real people’s experiences. And now you have the blueprint to make sure every piece keeps readers hooked till the last word.

If writing features was daunting before, let this be your turning point.

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Become a Writer Today

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

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

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

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

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

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

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

1. Human Interest

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

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

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

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

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

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

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

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

How to Write a Feature Story: Lifestyle Features

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

Lifestyle features are common within magazines.

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

These feature articles are specific to certain times of year.

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

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

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

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

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

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

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

They often accompany news writing.

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

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

A profile feature is like a mini-biography.

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

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

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

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

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

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

How to Write a Feature Story: Travel Features

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

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

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

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

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

Example: The article you are reading right now.

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

They are as follows:

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

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

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

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

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

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

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

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

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

8. Leave With A Bang

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

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

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

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

  • What is a feature story example?

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

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

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

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

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

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

writing a feature article about a person

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

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How to Write a Feature Article

Last Updated: April 29, 2023 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 1,450,558 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

Step 1 Find a compelling story.

  • 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.

Step 2 Prepare for your interview.

  • 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.

Step 8 Actively listen.

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.

Step 3 Outline your article.

  • 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

Step 1 Write a hook to open your story.

  • 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.

Step 4 Show, don’t tell.

Finalizing the Article

Step 1 Check for accuracy, and check again.

  • You can choose to incorporate or not incorporate their suggestions.

Step 3 Check spelling and grammar.

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

Step 4 Get feedback on the article.

  • 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.

Sample Feature Article

writing a feature article about a person

Community Q&A

Community Answer

  • 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

writing a feature article about a person

  • 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 1 Not Helpful 0

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  • ↑ 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

Mary Erickson, PhD

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 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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Read Also: How Fact Checking Is Strengthening Trust In News Reporting

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.

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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 a feature article about a person

writing a feature article about a person

7 examples of engaging feature stories

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

Kimberlee Meier — Contributing Writer

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

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

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

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

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

Screenshots from an illustrated feature story from El Periodico

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

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

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

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

What is a feature story?

writing a feature article about a person

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

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

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

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

How are feature stories changing?

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

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

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

Now, let's dive into our examples👇

7 examples of stunning feature stories

writing a feature article about a person

1 Arab News

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

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

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

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

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

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

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

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

Screenshots from NBC feature story on the segregation of Detroit.

3 Pioneers Post 

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

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

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

Screenshots from Pioneers Post feature story on climate change

4 Hoover Institute 

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

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

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

Screenshots from the Hoover Institute feature story on Chinese propaganga

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

5 BBC 

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

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

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

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

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

Screenshots from BBC feature story on the rescue of migrant children

6 WaterAid 

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

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

Screenshots from Water Aid feature story on climate change

7 Sky News 

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

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

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

Screenshots from Sky News feature story on the WNBA at 25

Ready to start creating your own amazing feature stories?

writing a feature article about a person

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

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

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

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

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

Publish your first story free with Shorthand

Craft sumptuous content at speed. No code required.

Putting mental health first

How to Write a PERFECT Feature Article – Every Time

How to Write a PERFECT Feature Article – Every Time

What is a Feature Article?

Feature articles are a form of written media that are most often showcased in magazines and newspapers. They are generally less formal and require less statistics than say, an analytical essay. Instead, they are typically more casual and emotive. The purpose of a feature article is to provide information around human interest. This could be on events, people, places, or issues.

Topic and Target Audience

Having a clear and concise topic of discussion in mind before creating your feature article is important. This gives you the ability to develop and brainstorm the information you wish to display in your writing. Covering too many topics at a time, however, will cause it to become convoluted and confusing. The underlying message may become meaningless or difficult to understand if there are too many subjects being covered. When writing your feature article, you should try to have a clear target audience in mind. Having a set target audience allows the author to cater to their writing style and emotive language in accordance with the kind of people they are writing for.

How do I write a Feature Article?

Feature articles tend to be versatile and can be written in, first, second and third person or a mix of the three when applicable.

  • First person is from the perspective of the writer and as such, the author can insert their personal thoughts and opinions this way and can use personal pronouns. (E.g. I, me, we, us)
  • Second person is written from the perspective of the audience in which the author describes a scenario using the words ‘you’ and ‘you’re.’ (E.g. ‘You’re walking through the woods…’)
  • Third person refers to the point of view of an outsider looking in and describes a situation or person as such. (E.g. They, them, she, he)

LANGUAGE AND WRITING STYLE

  • Depending on the target audience and topic of the article, the use of informal, colloquial language or ‘slang’ can be used to add a more personal and conversational tone to the writing.
  • Contractions are allowed in feature articles. (e.g. can’t, didn’t, it’s)
  • Facts and direct quotes are useful in validating the author’s message.
  • Rhetorical questions help to draw in and involve the reader.
  • Hyperbolic and emotive language adds personality and flair into the article.
  • Effective literacy devices such as imagery, personification, alliteration, metaphors , etc, can help to immerse the reader into the writing

FORMATTING AND WRITING STRUCTURE

When creating a feature article, be sure to include:

Example Layout

Below is an example of a feature article layout that has also been appropriately labelled

Example of correctly labelled feature article

WHAT TO WRITE

Feature articles tend to vary in length and are generally laid out into columns. Due to this kind of layout style, typically the writing is broken up into multiple mini paragraphs to create a sense of depth. With this in mind, one could write their article in a standard writing format with an introduction, three body paragraphs, and a conclusion and then proceed to break it up into columns once completed.

Introduction

Paragraph 1

  • Use a strong hook to draw the reader in.
  • The general message and subject of your article should be established here.
  • The introduction should also set the tone of the article.
  • The introduction shouldn’t be too long or too detailed.

Paragraph 2, 3, 4 and onwards

  • Lead off your introduction and begin explaining your main points one at a time in detail.
  •  Establish what you are trying to convey with each point and provide an explanation as to why it is important or relevant.
  • Include quotes, anecdotes, and general information surrounding your points to create meaning for the audience.
  • Include images that can aid in any messages being conveyed or as a means to provide context to an explanation.
  • Provide evidence to the reader as to why they should be invested in what you are saying and give them something to ponder.
  • Link each point back to the main message or theme you are enforcing.
  • The conclusion should leave a lasting impression on the reader and should sufficiently summarise and wrap up the rest of the article.
  • Remember not to introduce new information in the article here.
  • The conclusion should encourage the reader to be inspired, make a change, or take action.

writing a feature article about a person

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  • Rebecca Ghani , freelance journalist, London
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Interested in writing for a medical journal? Rebecca Ghani finds out from the experts where you can start

You have an excellent idea for a feature article that you would like to publish: you know that the topic is relevant; you’re sure the audience would be interested; you can access the facts and statistics; and you know that you could source a great interview or two.

So where do you go from here?

Know the publication

Read the latest copies of the publication or journal to get a feel for the style and tone. Think about the different sections and where your idea would best fit.

Scan the online archives for similar subjects: it’s unlikely that your piece will be commissioned if the topic has already been covered recently.

Edward Davies, editor of BMJ Careers, says, “The first thing that I would say is absolutely crucial for anyone submitting a pitch is to make sure we haven’t done it before. Google is your friend on this; Google the idea you’re thinking of—and search within the BMJ , BMJ Careers, and Student BMJ websites to see if there’s anything that’s been done on this before.”

Know your audience

If you’re writing for the Student BMJ , and you’re a medical student, you’ll have a good idea of what your peers will be interested in reading about. Sound it out with your colleagues and get input about your idea. Remember that the Student BMJ has an international readership and that your piece should be accessible and relevant to a worldwide audience.

Other medical journals have an even wider reach: the BMJ has a circulation of over 100 000 and a mixed audience of hospital doctors, GPs, retired doctors, and almost 5000 international doctors. 1

Even though most of your readers will be medics, don’t assume knowledge: there is always a lay audience, and keep in mind that the mainstream media often pick up on stories published in medical journals. Don’t dumb it down, but ensure it is accessible to a layperson.

In particular, spell out acronyms, explain colloquialisms, and use straightforward language. It shouldn’t be written as a research piece, so steer clear of academic jargon.

Udani Samarasekera, senior editor at the Lancet , makes the point that features are different from academic work: “Features are actually very different from essays: they’re a lot more colourful and journalistic and much more engaging. My advice would be not to think too much along the lines of an essay, which can be some students’ downfall,” she says.

Samarasekera also advises researching what makes a good feature: “There is a certain structure: they have an intro, background, new development, and then some debate. And often if it’s a journalistic piece it will describe the scene or have a character that draws you into the beginning of the story as well. So, very different from essays.”

When is a feature not a feature?

It’s important to understand what a feature is. Such articles showcase a topic or subject and weave in quotes, facts, and statistics to frame a topic and give it context and flavour. Although there is a place for opinion writing, this is a distinct type of writing and should be approached differently. A straight feature should not include your opinions: it will be your writing style that adds personality to the piece, not your viewpoint.

Davies outlines why it’s important to avoid airing your views if you’re pitching a standard feature: “We get a lot of things pitched as features that are actually opinion—so, people who’ve done a little survey or found a topic that bugs them. And actually what they’re writing about is their feelings on it, what they think of it. And you’ve got to be quite careful with that.”

Features will generally take straightforward news items or topical stories and examine them in more depth, bringing in original quotes from experts and often adding a human interest angle.

Profile articles focus on one person and should include a first hand interview and contextual information about the subject. The BMJ , BMJ Careers, and Student BMJ all publish profiles of eminent doctors or healthcare professionals, as do most general medical journals: the Lancet publishes a profile in its perspectives section.

This section of a publication can include editorials and first hand experience pieces; in Student BMJ and BMJ there’s the personal view section, and in BMJ Careers there is an opinion slot each week. Here, your voice and your opinions shape the piece and give readers an understanding of your experience and viewpoint. You should still support your opinions with facts and evidence, where appropriate.

Most features will have a peg or a hook on which the rest of the item will hang. This helps to shape the piece and give it a focus. Think about what will draw in your reader: something funny, controversial, or shocking; a new angle on an old subject; or something that generates conflicting viewpoints.

Human interest stories usually work well and can liven up an otherwise dry feature. Generally, features published in medical journals have a topical peg. One example is “The case of M,” 2 which took a recent court ruling about a patient’s right to die and then looked more closely at the current debate and research about ethics and the law surrounding this issue.

Samarasekera of the Lancet emphasises the importance of this: “Topicality is a big thing,” she says. “A feature needs to have something that’s interesting—maybe a recent controversy with an issue, but also a recent development to expand the feature—and to tell your readers why you’re covering it now.” She goes on to say the peg can be “a new piece of research, a report, a pending court case, or something like the first world hepatitis day or some big global health news.”

Once you have a firm idea of your subject, the publication, the audience, and the appropriate section, you are ready to make a pitch to the editor.

Be targeted —Once you’ve selected the journal, think about which section to target within the journal, and make this clear.

Be concise —Your pitch should be one or two paragraphs in the main body of an email. Do not send attachments, as editors may not have time to open them. Ensure that the subject line of the email is descriptive and introduces the pitch in a few words.

Engage —Say why your idea is relevant, why the audience will be interested, and what it adds to existing published work.

Follow up —If you don’t hear back within two weeks, follow up with a phone call to talk your idea through.

Davies says: “Put it down in writing—send an email pitch. And then if you haven’t heard within two weeks, get the phone number and pester them.

“And while the editor might not like it, giving them a quick nag on the phone is no bad thing, as your pitch comes back to the top of their pile and they reconsider it,” he advises.

Liaise with your editor

If your pitch is successful, your editor might allow you to run with it in your own style or could be more prescriptive and will brief you with some guidelines on tone, style, and what to include or avoid.

Make sure you and your editor are thinking along the same tracks. Should the piece be informal, chatty, or serious? Is there anyone specific you should be interviewing? Do you need to reference any other research or articles—particularly if the BMJ itself has published a relevant piece.

Agree a word count and deadline and stick to them.

Be organised

Although the final product will be one article, you will use many sources of information to inform your piece, which can easily get lost or mixed up.

Approach writing a feature like a mini-project. Keep your electronic files in a properly labelled folder and use descriptive file names—labelling a file “interview” probably won’t be that useful. Use dates and names to help you keep track of your research and interviews.

Log all requested interviews with latest notes, press office details, contact details, and any other notes that could be useful. Note whether a potential interviewee is in your own time zone or abroad and calculate time differences to make sure that you don’t call them in the middle of the night.

Keep links to any online research. You might find the perfect statistic or fact to back up your article, but it will be of no use if you can’t reference it properly.

Interviews can be face to face or on the phone. Although face to face is best, Skype is a great way to conduct international interviews.

Keep interviews to the point. Although it’s tempting to veer off to other topics, this can waste time and means that you have more audio to wade through.

Record or take shorthand notes. If you’re quoting someone directly, this needs to be an accurate representation of what they have said. Request permission if recording, and check equipment beforehand.

Don’t allow copy approval. It’s sometimes acceptable to show interviewees their words before publication, but for viewing—not for approval.

Interviewees

Features should contain original quotes from experts in the subject area. This will give your piece a fresh angle on a subject and first hand quotes will help to bring the story to life.

Allow interviews to shine through and don’t stifle with too much “framing”—often direct quotes don’t need much explanation and add to the authority of the piece.

Try not to use “quote sluts” 3 —overused media friendly sources who can churn out the same old line to each interviewer they speak to. Think about who might give a different, fresh, and possibly more controversial viewpoint.

Approach more interviewees than required. People may not respond, may be too busy, or just might not be interested. The risk here is that you end up with too much material, but that is better than not enough.

Your piece needs to be accurate, and any statements should be backed up by well sourced references. Try to verify statistics and facts from at least two sources, at first hand from the original source if possible. Don’t just repeat a fact you’ve read elsewhere. Libel laws apply each time a defamatory comment is repeated. If you’re using a non-primary quote or text, reference it properly so that the reader can see it in its original context.

Unlike news stories, which are written with the least important information at the end, the final paragraphs of a feature often tie up the loose ends. This could be an answer to the original question; a quote that sums up the gist of the piece; or a weighing up of the arguments within.

Competing interests: None declared.

From the Student BMJ .

  • ↵ BMJ Group Journals Division. Media Pack 2012 http://group.bmj.com/group/advertising/BMJ%20Group%20Journals%20Division%20Media%20Pack%202012.pdf .
  • ↵ Jacobs B. The case of M. Student BMJ 2012 ; 20 : e236 . OpenUrl
  • ↵ Matalin M, Carville J. All’s fair. Random House, 1994.

writing a feature article about a person

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.

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

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.

writing a feature article about a person

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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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.

writing a feature article about a person

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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.

Suggested reading

  • The Art and Craft of Feature Writing , William Blundell, Plume, 1988 (Note: While somewhat dated, this book explicitly frames a strategy for approaching the kinds of research-based, public affairs features this course encourages.)
  • Writing as Craft and Magic (second edition), Carl Sessions Stepp, 2007, Oxford University Press.
  • On Writing Well (30th anniversary edition), William Zinsser, Harper Paperbacks, 2006.
  • The Associated Press Stylebook 2009 , Associated Press, Basic Books, 2009.

Recommended reading

  • America’s Best Newspaper Writing , edited by Roy Peter Clark and Christopher Scanlan, Bedford/St. Martin’s, 2006.
  • Writing for Story , Jon Franklin, Penguin, 1986.
  • Telling True Stories: A Nonfiction Writers’ Guide from the Nieman Foundation at Harvard University , edited by Mark Kramer and Wendy Call, Plume, 2007.
  • The Journalist and the Murderer , Janet Malcolm, Vintage, 1990.
  • Writing for Your Readers , Donald Murray, Globe Pequot, 1992.

Assignments

Students will be asked to write and report only four specific stories this semester, two shorter ones, one at the beginning of the semester and one at the end, and two longer ones, a feature looking behind or beyond a news development, and an institutional or personal profile.

They will, however, be engaged in substantial writing, much of it focused on applying aspects of the writing-process method suggested herein. Throughout the class, assignments and exercises will attempt to show how approaching writing as a process that starts with a story’s inception can lead to sharper story themes, stronger story reporting and more clearly defined story organization. As they report and then revise and redraft the semester’s two longer assignments, students will craft theme or focus statements, write memos that help the class troubleshoot reporting weaknesses, outline, build interior scenes, workshop drafts and workshop revisions. Finally, in an attempt to place at least one of their pieces in a professional publication, an important lesson in audience and outlet, the students will draft query letters.

Methodology

This course proceeds under the assumption that students learn to report and write not only through practice (which is essential), but also by deconstructing and critiquing award-winning professional work and by reading and critiquing the work of classmates.

These workshops work best when certain rules are established:

  • Every student will read his or her work aloud to the class at some point during the semester. It is best that these works be distributed in advance of class.
  • Every student should respond to the work honestly but constructively. It is best for students to first identify what they like best about a story and then to raise questions and suggestions.
  • All work will be revised after it is workshopped.

Weekly schedule and exercises (13-week course)

We encourage faculty to assign students to read on their own at least the first 92 pages of William Zinsser’s On Writing Well before the first class. The book is something of a contemporary gold standard for clear, consistent writing and what Zinsser calls the contract between writer and reader.

The assumption for this syllabus is that the class meets twice weekly.

Week 1 | Week 2 | Week 3 | Week 4 | Week 5 | Week 6 | Week 7 Week 8 | Week 9 | Week 10 | Week 11 | Week 12 | Week 13

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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How To Write An Amazing Feature Article In 5 Steps

Need to write a feature article for class? Don't worry, in this article, we show you 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

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writing a feature article about a person

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Feature article writing

I write feature articles and blog posts across a range of magazines and websites in Australia and the UK. Here are just a few – and scroll down further for some tips on writing feature articles.

medic SA - Children in detention

Children in detention medicSA AMA

Feature Article - Real womens health - ClubMag Priceline.pdf

Real womens health ClubMag, Priceline

Dr Richard Harris cave dive hero - Feature article writing for MedicSA

Three generations of medicos: Dr Richard Harris cave dive hero MedicSA AMA

Feature article - Treasure trove

Treasure trove Country Style

Feature article - Theatre with bite

Theatre with bite Jetstar Magazine

Your life your story - Feature article for MedicSA

Your life, your story MedicSA AMA

Life stories feature article writing for Health Agenda

The story of your life Health Agenda Magazine

Feature article - Fringe benefits

Fringe benefits Jetstar Magazine

Feature Article - Retro chic by the reservoir - Fleurieu Living

Retro chic by the reservoir Fleurieu Living Magazine

Feature Article - Brewing up a storm - Fleurieu Living

Brewing up a storm Fleurieu Living Magazine

Feature Article - Pride of the peninsula

Pride of the Peninsula Jetstar Magazine

Feature Article - Blessed be - Fleurieu Living

Blessed cheese Fleurieu Living Magazine

Feature article - Our life in the country

Our life in the country Country Style

Feature Article - Gardening on the edge - Fleurieu Living

Gardening on the edge Fleurieu Living Magazine

Feature article - Yoga and your health

Yoga and your health Vital Health National Pharmacies

7 tips for writing feature articles

Feature articles reflect the human experience, whereas news stories report on current events. Feature articles focus on an event or a person, and they take the reader on a journey, giving them a glimpse into the truth behind a subject. Here’s how to write an effective and engaging feature article.

1) Find the original angle to your story.

Just recently, I wrote a feature article about Thai Cave hero Dr Richard Harris, and how he comes from a long line of medicos. I was wondering how to tie it together in an interesting way, when I came across a cutting from an old newspaper. It told me that young Jimmy Harris almost drowned as a three-year-old boy, when he was sucked through a concrete pipe culvert full of irrigation water.

In that stranger-than-fiction way that life sometimes has, little Jimmy grew up to become Dr James Harris, father of Richard Harris, the Adelaide anaesthetist who made world headlines for his underwater rescue work in a flooded Thai cave system.

Right there – an original angle for a feature article that could otherwise have been humdrum, considering the level of coverage of the rescue at the time.

2) Show, don’t tell.

Once you have found your angle and start to write your feature article, bear in mind the ‘show, don’t tell’ rule. It’s one of the first lessons I learned when I was studying professional writing and editing. It can be tempting to describe something as ‘nice’ or ‘normal’ or ‘funny’ … but that doesn’t really describe anything it all. In fact, it’s lazy writing. What is it that is nice or normal or funny about them? How did you come to that conclusion? What did you notice? Use your powers of observation to find the detail – and choose your adjectives and verbs carefully. That’s how you make an impression when you are writing feature articles.

3) Make the point of your feature article clear up front.

A reader wants to know early on ‘Why should I care?’ If you don’t answer that question quickly and concisely, you will lose the reader’s interest. Don’t get too caught up in trying to be clever with your writing. Think of the reader first and how they will understand what you are saying.

4) Don't overuse direct quotes.

It can be tempting to transcribe an interview and let the quotes make up the bulk of your story. Again, that’s lazy writing. Use your own prose, and a well-placed quote to enhance your point.

5) Who are you writing for?

You will need to tailor your feature article depending on your audience, and the type of publication you are writing for . You could pitch an article on the same topic in different ways to different publications. For example, I have just finished writing an article about life stories – a topic dear to my heart. I wrote about the health benefits of telling your life story for a health magazine. I wrote about recording and writing the life stories of people who are dying for a doctors’ magazine. And I wrote about the ‘ 7 reasons why we should write our life stories ’ for Life Stories Australia.

6) Just tell the story.

This is a rule I was taught as a young writer and editor – don’t let your opinion on a topic or person about which you are writing cloud the story itself. Keep yourself out of it. Just tell the story.

7) Have your article edited.

Don’t let errors detract from your writing – editors won’t be impressed. Edit, edit and edit again. And then proofread. Get yourself a copy of The Style Manual: For Authors, Editors and Printers (6th Edition, published in 2002 by John Wiley & Sons, Australia). This covers all the rules of editing for style, consistency, grammar and spelling.

If you need some help writing feature articles, please contact me. 

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Wylie Communications, Inc.

Writing workshops, communication consulting and writing services

Catchy headlines for feature articles

Coin a word, go graphic and more.

Stuck for a catchy title that will make people read the article?

Catchy headlines for feature articles

Next time you’re writing catchy headlines for blog posts, email marketing, social media, online business communications or other pieces of content, try these types of headlines:

Alliteration

Here’s a catchy headline template: Use alliteration.

Alliteration occurs when you repeat initial sounds in nearby words: “Sweet smell of success,” for instance. It “makes your language lyrical,” says Sam Horn, author of P OP! Stand Out in Any Crowd .

That’s the approach Eastman Chemical communicators used when they wrote this headline, summarizing some of the things the company’s R&D department had worked on recently:

Satellites, Soap and Succotash

And The New York Times used alliteration for this headline package:

Tutus and testosterone

Men behaving balletically.

This approach can make a good headline.

Learn more about alliteration .

Graphic wordplay

When the Minneapolis Star Tribune ran a photo of a sign from which the “R’s” were missing, copy editors wrote this headline:

Thief st ikes again

One approach for a catchy headline: Use type to twist a phrase.

Graphic wordplay can be as simple as a headline that says:

Make Fewer Mitsakes

The Minneapolis copy editors used graphic wordplay for this headline and deck:

He (subject) teaches (verb) grammar (object)

Mike greiner is old-school about teaching students how sentences are built, despite what one student wrote: ‘you’re torturing us’.

Copyeditors at the Omaha World-Herald earned an ACES award for a portfolio including this headline:

Space rock to get thisclose to Earth

Scientists say an asteroid hurtling our way will miss us by a mere 200,000 miles..

Scott Beckett, a copy editor at Scripps central desk in Corpus Christi, Texas, submitted this ACES award winner:

Education = More chances 2

Grant gives san pat students opportunities in math, science.

(Note: Search engines don’t love these headlines. So use them for email, not listing posts.)

Half-and-half words

When Dixie Land (yes!) needed a headline for a piece about punishing workouts, the copyeditor for The Arkansas Democrat-Gazette wrote:

Intimidating or spine-chilling physical psyche-outs possess a fitness center client

Can’t find the perfect term for your headline? Make it up! For this technique, you create a new word by gluing two old words together.

Indeed, several ACES winners coined words for their winning headlines:

Penitence goes mobile with new confession app

Software makes it easy to say, ‘forgive me father, isinned’, — copyeditors at the detroit news, short and tweet, twitterature: the new art of adding stories to your posts, — marianne tamburro, copyeditor for the star-ledger, bon app-étit, as ipads become a kitchen staple, digital cookbooks enhance the experience of following a recipe, — copyeditors at the oregonian, dinosaurigami, more pop-ups from the ‘prehistorica’ team of sabuda and reinhart,  — gregory cowles of the new york times, one-word headlines.

Here’s a headline formula that’s easy to implement: “See if there is ONE word that captures the essence of your subject,” suggests Horn. “A one word title is more likely to JUMP! off the page.”

Her own book title is a good example of this approach:

Stand Out in Any Crowd

Make your title jump off the page in a single word.

Onomatopoeia

Buzz, crash, whirrr, splash . Onomatopoeia — Greek for name-making — is a word that imitates the sound it represents.

Headline writers at The Lexington (Ky.) Herald-Leader used that approach for this ACES winner:

Squeeeak … Slam! Sniffff … Ahhhh!

Screen doors let in fresh air and nostalgia.

Too often we think of feature headlines as clever heads for cute stories. The New York Times copy editors remind us that feature heads work well for emotional — even agonizing — pieces, as well.

Several ACES winners have used this approach for their award-winning heads. Copy editors for the Los Angeles Times , for instance, came up with this headline and deck:

Surrounded by her son

The mother of nfl player chris henry wanted to meet the people who received his organs. from one death, four lives were reborn.

Don’t think of feature headlines as purely clever heads for cute stories. Expand your repertoire by writing poignant heads for touching stories, too.

“Declarations sit on the page,” Horn says. “Questions engage.”

Indeed, well-crafted question headlines can draw your reader in. To write a good question head:

Peggy Boss Barney, copy editor for the Salt Lake Tribune , posed a provocative question in this ACES award-winning headline:

What Do You Get When You Cross a Human With a Mouse?

A narrowing of laws on manipulating life, patent applicants hope.

Question leads can help you avoid giving away the ending. Roy Peter Clark, editorial guru at the Poynter Institute, suggests that instead of:

Heroic measures save heroic dog

Brutis kept a deadly snake from his master and her grandchildren, but needed some quick help in turn to keep from dying from the bite.

You consider:

Would heroic measures save heroic dog?

Brutis kept a deadly snake from his master and her grandchildren. would the antivenin arrive in time to save the dog from dying from the bite.

Try it. As Paula LaRocque, author of Championship Writing , writes: “A headline with a question mark is inherently more open and engaging than a statement headline.”

Single-syllable words

Short words are powerful words.

They clip along at a brisk rate, can look great graphically and say a lot in a little space. Plus — sometimes most important if you’re writing to a strict space limitation — they fit.

To pack a punch in your next headline, try limiting yourself to only one-syllable words. Here are some examples to get you started.

For an article about taking private jets instead of commercial airlines in Northern Trust’s Northern Update marketing magazine, Loring Leifer wrote this pithy head:

Mary Forgione, copy editor for the Los Angeles Times , earned an ACES  award for this string of super-short words:

Life After Plop, Plop, Fizz, Fizz

In her book, an advertising lion reflects on making it in a man’s world.

Jennifer Balderama, copy editor for the Washington Post , used only one-syllable words for this ACES award-winner:

Ears wide shut

Researchers get punished for telemarketers’ crimes.

David Breen, copy editor for the Orlando Sentinel , slipped a two-syllable word into this headline, another ACES winner. But the clip of short words following it are certainly worth emulating:

Divorce: Log on, click in, break up

But critics say an online divorce is not hassle-free; others fear it’s too easy.

Still, the real queen of the one-syllable-word head is Debbie Sprong, copy editor for the Elkhart Truth . She earned an ACES award for these heads:

Cap and gone

(for an infographic on graduation), new numbers in second district race show strong lead for chocola, for many workers, lunch hour is more than a chance to eat, officials hope test plot proves merits of biosolid compost.

Gregory Cowles of The New York Times earned an ACES award for a portfolio of heads including these:

A collection of picture books teaches children about jazz and its heroes

The way of no flesh, a cultural history of vegetarianism in the west.

And Scott Beckett, copy editor for the Corpus Christi Caller-Times , called out his short words in this ACES award-winning headline:

Nature’s 4-letter words: Wind, hail, rain

Violent storm destroys home, topples big rigs.

For a preview of fall TV shows, Pat Myers of The Washington Post wrote:

Ewws and Ahhs

Too many shows will give viewers the creeps this season, but a few noble souls save the day.

Steve Byers of the Huntsville (Ala.) Times limited himself to one-syllable words for this headline:

The spies who love me

Scared parents of teens spending on surveillance.

Jeff Verbus of The Repository (Canton, Ohio) had two winning heads using only super-short words:

Knock down, drag out blight

Mounting expenses won’t deter canton from ridding city of eyesore properties, bill to squeeze pop has juice, senator proposes a limit or ban on sale of soda in public schools.

Try writing headlines using only one-syllable words. The result may well pack more of a punch than headlines using longer words.

Display copy-writing workshop, a mini master class on Dec. 11-12

Get the word out with display copy

“Readers” don’t read. Even highly educated web visitors read fewer than 20% of the words on a webpage.

So how do you reach “readers” who won’t read your paragraphs?

Learn how to put your messages where your readers’ eyes really are — in links, lists and CTAs — at our display copy-writing workshop on Dec. 11-12.

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The Day I Put $50,000 in a Shoe Box and Handed It to a Stranger

I never thought i was the kind of person to fall for a scam..

Portrait of Charlotte Cowles

On a Tuesday evening this past October, I put $50,000 in cash in a shoe box, taped it shut as instructed, and carried it to the sidewalk in front of my apartment, my phone clasped to my ear. “Don’t let anyone hurt me,” I told the man on the line, feeling pathetic.

“You won’t be hurt,” he answered. “Just keep doing exactly as I say.”

Three minutes later, a white Mercedes SUV pulled up to the curb. “The back window will open,” said the man on the phone. “Do not look at the driver or talk to him. Put the box through the window, say ‘thank you,’ and go back inside.”

The man on the phone knew my home address, my Social Security number, the names of my family members, and that my 2-year-old son was playing in our living room. He told me my home was being watched, my laptop had been hacked, and we were in imminent danger. “I can help you, but only if you cooperate,” he said. His first orders: I could not tell anyone about our conversation, not even my spouse, or talk to the police or a lawyer.

Now I know this was all a scam — a cruel and violating one but painfully obvious in retrospect. Here’s what I can’t figure out: Why didn’t I just hang up and call 911? Why didn’t I text my husband, or my brother (a lawyer), or my best friend (also a lawyer), or my parents, or one of the many other people who would have helped me? Why did I hand over all that money — the contents of my savings account, strictly for emergencies — without a bigger fight?

Spring Fashion Issue

We want moore.

package-table-of-contents-photo

When I’ve told people this story, most of them say the same thing: You don’t seem like the type of person this would happen to. What they mean is that I’m not senile, or hysterical, or a rube. But these stereotypes are actually false. Younger adults — Gen Z, millennials, and Gen X — are 34 percent more likely to report losing money to fraud compared with those over 60, according to a recent report from the Federal Trade Commission. Another study found that well-educated people or those with good jobs were just as vulnerable to scams as everyone else.

Still, how could I have been such easy prey? Scam victims tend to be single, lonely, and economically insecure with low financial literacy. I am none of those things. I’m closer to the opposite. I’m a journalist who had a weekly column in the “Business” section of the New York Times. I’ve written a personal-finance column for this magazine for the past seven years. I interview money experts all the time and take their advice seriously. I’m married and talk to my friends, family, and colleagues every day.

And while this is harder to quantify — how do I even put it? — I’m not someone who loses her head. My mother-in-law has described me as even-keeled; my own mom has called me “maddeningly rational.” I am listed as an emergency contact for several friends — and their kids. I vote, floss, cook, and exercise. In other words, I’m not a person who panics under pressure and falls for a conspiracy involving drug smuggling, money laundering, and CIA officers at my door. Until, suddenly, I was.

That morning — it was October 31 — I dressed my toddler in a pizza costume for Halloween and kissed him good-bye before school. I wrote some work emails. At about 12:30 p.m., my phone buzzed. The caller ID said it was Amazon. I answered. A polite woman with a vague accent told me she was calling from Amazon customer service to check some unusual activity on my account. The call was being recorded for quality assurance. Had I recently spent $8,000 on MacBooks and iPads?

I had not. I checked my Amazon account. My order history showed diapers and groceries, no iPads. The woman, who said her name was Krista, told me the purchases had been made under my business account. “I don’t have a business account,” I said. “Hmm,” she said. “Our system shows that you have two.”

Krista and I concurred that I was the victim of identity theft, and she said she would flag the fraudulent accounts and freeze their activity. She provided me with a case-ID number for future reference and recommended that I check my credit cards. I did, and everything looked normal. I thanked her for her help.

Then Krista explained that Amazon had been having a lot of problems with identity theft and false accounts lately. It had become so pervasive that the company was working with a liaison at the Federal Trade Commission and was referring defrauded customers to him. Could she connect me?

“Um, sure?” I said.

Krista transferred the call to a man who identified himself as Calvin Mitchell. He said he was an investigator with the FTC, gave me his badge number, and had me write down his direct phone line in case I needed to contact him again. He also told me our call was being recorded. He asked me to verify the spelling of my name. Then he read me the last four digits of my Social Security number, my home address, and my date of birth to confirm that they were correct. The fact that he had my Social Security number threw me. I was getting nervous.

“I’m glad we’re speaking,” said Calvin. “Your personal information is linked to a case that we’ve been working on for a while now, and it’s quite serious.”

He told me that 22 bank accounts, nine vehicles, and four properties were registered to my name. The bank accounts had wired more than $3 million overseas, mostly to Jamaica and Iraq. Did I know anything about this? “No,” I said. Did I know someone named Stella Suk-Yee Kwong? “I don’t think so,” I said. He texted me a photo of her ID, which he claimed had been found in a car rented under my name that was abandoned on the southern border of Texas with blood and drugs in the trunk. A home in New Mexico affiliated with the car rental had subsequently been raided, he added, and authorities found more drugs, cash, and bank statements registered to my name and Social Security number. He texted me a drug-bust photo of bags of pills and money stacked on a table. He told me that there were warrants out for my arrest in Maryland and Texas and that I was being charged with cybercrimes, money laundering, and drug trafficking.

My head swam. I Googled my name along with “warrant” and “money laundering,” but nothing came up. Were arrest warrants public? I wasn’t sure. Google led me to truthfinder.com, which asked for my credit-card information — nope. “I’m in deep shit,” I texted my husband. “My identity was stolen and it seems really bad.”

Calvin wanted to know if I knew anyone who might be the culprit or if I had any connections to Iraq or Jamaica. “No,” I said. “This is the first I’m hearing about any of this, and it’s a lot to take in.” He asked if I had ever used public or unsecured Wi-Fi. “I don’t know. Maybe?” I said. “I used the airport Wi-Fi recently.”

“Ah,” he said. “That’s unfortunate. It’s how many of these breaches start.” I was embarrassed, like I’d left my fly unzipped. How could I have been so thoughtless? But also — didn’t everyone use the airport Wi-Fi?

Calvin told me to listen carefully. “The first thing you must do is not tell anyone what is going on. Everyone around you is a suspect.”

I almost laughed. I told him I was quite sure that my husband, who works for an affordable-housing nonprofit and makes meticulous spreadsheets for our child-care expenses, was not a secret drug smuggler. “I believe you, but even so, your communications are probably under surveillance,” Calvin said. “You cannot talk to him about this.” I quickly deleted the text messages I had sent my husband a few minutes earlier. “These are sophisticated criminals with a lot of money at stake,” he continued. “You should assume you are in danger and being watched. You cannot take any chances.”

I felt suspended between two worlds — the one I knew and the one this man was describing. If I had nothing to do with any of these allegations, how much could they truly affect me? I thought of an old This American Life episode about a woman whose Social Security card was stolen. No matter how many times she closed her bank accounts and opened new ones, her identity thief kept draining them, destroying her credit and her sanity. (It turned out to be her boyfriend.) I remembered another story about a man who got stuck on a no-fly list after his personal information was used by a terrorist group. It dawned on me that being connected to major federal offenses, even falsely, could really fuck up my life.

Calvin wanted to know how much money I currently had in my bank accounts. I told him that I had two — checking and savings — with a combined balance of a little over $80,000. As a freelancer in a volatile industry, I keep a sizable emergency fund, and I also set aside cash to pay my taxes at the end of the year, since they aren’t withheld from my paychecks.

His voice took on a more urgent tone. “You must have worked very hard to save all that money,” he said. “Do not share your bank-account information with anyone. I am going to help you keep your money safe.” He said that he would transfer me to his colleague at the CIA who was the lead investigator on my case and gave me a nine-digit case number for my records. (I Googled the number. Nothing.) He said the CIA agent would tell me what to do next, and he wished me luck.

writing a feature article about a person

If it was a scam , I couldn’t see the angle. It had occurred to me that the whole story might be made up or an elaborate mistake. But no one had asked me for money or told me to buy crypto; they’d only encouraged me not to share my banking information. They hadn’t asked for my personal details; they already knew them. I hadn’t been told to click on anything.

Still, I had not seen a shred of evidence. I checked my bank accounts, credit cards, and credit score; nothing looked out of the ordinary. I knew I should probably talk to a lawyer or maybe call the police, though I was doubtful that they would help. What was I going to say — “My identity was stolen, and I think I’m somehow in danger”? I had no proof. I was also annoyed that my workday had been hijacked. It was 2 p.m., and I had already pushed back one deadline and postponed two work calls. I had to get myself out of this.

The next man who got on the line had a deeper voice and a slight British accent flecked with something I couldn’t identify. He told me his name was Michael Sarano and that he worked for the CIA on cases involving the FTC. He gave me his badge number. “I’m going to need more than that,” I said. “I have no reason to believe that any of what you’re saying is real.”

“I completely understand,” he said calmly. He told me to go to the FTC home page and look up the main phone number. “Now hang up the phone, and I will call you from that number right now.” I did as he said. The FTC number flashed on my screen, and I picked up. “How do I know you’re not just spoofing this?” I asked.

“It’s a government number,” he said, almost indignant. “It cannot be spoofed.” I wasn’t sure if this was true and tried Googling it, but Michael was already onto his next point. He told me the call was being recorded, so I put him on speaker and began recording on my end, too. He wanted to know if I had told anyone what was going on.

I admitted that I had texted my husband. “You must reassure him that everything is fine,” Michael said. “In many cases like this, we have to investigate the spouse as well, and the less he knows, the less he is implicated. From now on, you have to follow protocol if you want us to help you.”

“I don’t think I should lie to my husband,” I said, feeling stupid.

“You are being investigated for major federal crimes,” he said. “By keeping your husband out of this, you are protecting him.” He then repeated the point Calvin had made about my phone and computer being hacked and monitored by the criminals who had stolen my identity.

By that point, my husband had sent me a series of concerned texts. “Don’t worry. It will be okay,” I wrote back. It felt gross to imagine a third party reading along.

Michael snowed me with the same stories Calvin had. They were consistent: the car on the Texas border, the property in New Mexico, the drugs, the bank accounts. He asked if I shared my residence with anyone besides my husband and son. Then he asked more questions about my family members, including my parents, my brother, and my sister-in-law. He knew their names and where they lived. I told him they had nothing to do with this. In fact, I was now sure I wanted to consult a lawyer.

“If you talk to an attorney, I cannot help you anymore,” Michael said sternly. “You will be considered noncooperative. Your home will be raided, and your assets will be seized. You may be arrested. It’s your choice.” This seemed ludicrous. I pictured officers tramping in, taking my laptop, going through our bookshelves, questioning our neighbors, scaring my son. It was a nonstarter.

“Can I just come to your office and sort this out in person?” I said. “It’s getting late, and I need to take my son trick-or-treating soon.”

“My office is in Langley,” he said. “We don’t have enough time. We need to act immediately. I’m going to talk you through the process. It’s going to sound crazy, but we must follow protocol if we’re going to catch the people behind this.”

He explained that the CIA would need to freeze all the assets in my name, including my actual bank accounts. In the eyes of the law, there was no difference between the “real” and the fraudulent ones, he said. They would also deactivate my compromised Social Security number and get me a new one. Then, by monitoring any activity under my old Social Security number and accounts, they would catch the criminals who were using my identity and I would get my life back. But until then, I would need to use only cash for my day-to-day expenses.

It was far-fetched. Ridiculous. But also not completely out of the realm of possibility. “Do I have any other options?” I asked.

“Unfortunately, no,” he said. “You must follow my directions very carefully. We do not have much time.”

He asked me how much cash I thought I would need to support myself for a year if necessary. My assets could be frozen for up to two years if the investigation dragged on, he added. There could be a trial; I might need to testify. These things take time. “I don’t know, $50,000?” I said. I wondered how I would receive paychecks without a bank account. Would I have to take time off from work? I did some mental calculations of how much my husband could float us and for how long.

“Okay,” he said. “You need to go to the bank and get that cash out now. You cannot tell them what it is for. In one of my last cases, the identity thief was someone who worked at the bank.”

Michael told me to keep the phone on speaker so we would remain in contact. “It’s important that I monitor where this money goes from now on. Remember, all of your assets are part of this investigation,” he said. Then he told me that one of his colleagues would meet me at my apartment at 5 p.m. to guide me through the next steps.

“You can’t send a complete stranger to my home,” I said, my voice rising. “My 2-year-old son will be here.”

“Let me worry about that,” he said. “It’s my job. But if you don’t cooperate, I cannot keep you safe. It is your choice.”

It’s impossible to explain why I accepted this logic. But I had been given marching orders and a deadline. My son would be home soon, and I had to fix this mess. I put on sneakers in case I needed to run. I brought a backpack for the cash. I felt both terrified and absurd.

It was jarring to see trick-or-treaters in my Brooklyn neighborhood, people going about their lives. The air was crisp, and dead leaves swirled on the ground. I was on high alert for anyone who might be following me. At one point, a man in sunglasses and a hoodie trailed me for a few blocks. At Michael’s suggestion, I ducked into a parking garage until he passed.

When I reached the bank, I told the guard I needed to make a large cash withdrawal and she sent me upstairs. Michael was on speakerphone in my pocket. I asked the teller for $50,000. The woman behind the thick glass window raised her eyebrows, disappeared into a back room, came back with a large metal box of $100 bills, and counted them out with a machine. Then she pushed the stacks of bills through the slot along with a sheet of paper warning me against scams. I thanked her and left.

Michael was bursting with praise. “You did a great job,” he said. “I have to go for a moment to see about the details of your case; I’m going to have you speak to my colleague if you have any questions.” He put a woman on the line. She was younger, with an accent I couldn’t identify. She told me to go home and await further instructions.

As I walked back to my apartment, something jolted me out of my trance, and I became furious. No government agency would establish this as “protocol.” It was preposterous. “I need to speak with Michael,” I told the woman on the phone. He got on right away. “I don’t even believe that you’re a CIA agent,” I said. “What you’re asking me to do is completely unreasonable.”

He sighed. “I’m sending you a photo of my badge right now,” he said. “I don’t know what else to tell you. You can trust me, and I will help you. Or you can hang up and put yourself and your family in danger. Do you really want to take that risk with a young child?”

My Two Cents

How to protect yourself against scams, what charlotte cowles wishes she’d known..

I waited for a stoplight at a busy intersection. I could see my apartment window from where I stood. My son was playing inside with a neighbor’s daughter and their nanny. A picture of Michael’s badge appeared on my phone. I had no way of verifying it; it could easily have been Photoshopped. “I don’t trust you at all,” I said to Michael. “But it doesn’t seem like I have any other choice.”

When I got home, Michael told me to get a box, put the cash in it, take a picture of it, then tape it shut. I found a floral-printed shoe box that had once contained a pair of slippers I’d bought for myself — a frivolous purchase that now seemed mortifying. Michael told me to label it with my name, my case number, my address, a locker number he read to me, and my signature. Then he directed me to take another picture of the labeled box and text it to him.

“My colleague will be there soon. He is an undercover CIA agent, and he will secure the money for you,” he said. What exactly would that entail? I asked. “Tonight, we will close down your Social Security number, and you will lose access to your bank accounts,” he explained. “Tomorrow, you’ll need to go to the Social Security office and get a new Social Security number. We’ll secure this money for you in a government locker and hand-deliver a Treasury check for the same amount. You can cash the check and use it for your expenses until the investigation is over.”

“Why can’t I just use this cash?” I asked. “Why do you have to take it and give me a check?”

“Because all of your assets under your current identity are part of the investigation,” he said. “You are being charged with money laundering. If we secure this cash and then issue you a government check under your new Social Security number, that will be considered clean money.”

“I’ll need to see your colleague’s badge,” I said. “I’m not just going to give $50,000 of my money to someone I don’t know.”

“Undercover agents don’t carry badges,” he said, as if I’d asked the CIA to bring me a Happy Meal. “They’re undercover. Remember, you are probably being watched. The criminals cannot know that a CIA agent is there.”

In a twisted way, this made some amount of sense to me. Or maybe I had lost my grip on reality so completely that I was willing to resign myself to this new version of it. Most important, I didn’t know what else to do. Even if Michael wasn’t working for the CIA (which struck me as more and more likely), he was sending a man to our address. I felt a sickening dread that he might ask to come inside. If giving him this money would make him go away, I was ready to do it. I’d been on the phone for nearly five hours. I wanted to take my son trick-or-treating. I was exhausted.

Michael seemed to sense that I was flagging and asked if I’d had lunch. I hadn’t. He told me to eat something but keep him on the line; his agent was on the way to my address but running late. “You can meet him outside if that would make you more comfortable,” Michael said, and I felt relieved. While I gnawed on a granola bar at my desk, he got chatty and asked about my job. I told him I was going to Washington, D.C., later that week. “Oh, great. You could come to my office in Langley,” he said. “Where are you staying?”

A little after 6 p.m., Michael told me to go downstairs. His colleague was arriving. My husband had just come home from work and was reading to our son. “What’s going on? Is everything okay?” he asked as I put my coat on. I motioned to the phone and shushed him. Then I whispered, “I have to go downstairs and meet a guy who’s helping with the identity-theft case. I’ll explain more later.” He frowned and silently mouthed, “What?” I told him I had to go.

I met the SUV at the curb and put the money in the back seat. It was 6:06 p.m. Even if I’d tried to see who was driving, the windows were tinted and it was dusk. He maybe wore a baseball cap. When I turned around, I could see the backlit faces of my husband and son watching from our apartment nine stories above.

As I walked back inside, Michael texted me a photo of a Treasury check made out to me for $50,000 and told me a hard copy would be hand-delivered to me in the morning. He was working on setting up my appointment with the Social Security office. “You will receive a confirmation text shortly,” he said. “Stay on the line until you do.” I felt oddly comforted by this. An appointment would give me something legitimate, an actual connection to a government agency.

I took my son trick-or-treating, my phone on speaker in my pocket. I felt numb, almost in a fugue state, smiling and chatting with my neighbors and their kids. At one point, I checked to see if Michael was still there; his female colleague answered and said he’d be back soon. Then, when we got home and I checked again, the line was dead. I panicked and called back. The woman answered. “Michael is busy,” she said. “He’ll call you in the morning.”

I was confused. Did this mean I didn’t have a Social Security number at all anymore? I pictured myself floating, identity-less. “Do I have an appointment at the Social Security office?” I asked.

“Michael will call you tomorrow,” she repeated. “He hasn’t been able to secure your appointment yet. The Social Security office is closed now.”

I went into my bedroom and shut the door, feeling my face grow hot. I had a physical sensation of scales falling from my eyes; the room shimmered around me, spots raining from the ceiling. I saw the whole day peel away, like the layers of an onion — Michael, the FTC officer, the Amazon call — revealing my real life, raw and exposed, at the center. “Oh my God,” I said, my hands tingling. “You are lying to me. Michael was lying. You just took my money and I’m never getting it back.” That wasn’t true, the woman said. She understood that I was upset. She was sorry. Everything would be fine. “You’re a fucking liar,” I hissed, and hung up.

Through choking sobs, I told my husband what had happened. “Why didn’t you tell me?” he asked, incredulous. “I would have stopped you.” That I’d been trying to protect him suddenly seemed so idiotic I couldn’t even say it out loud. Our son looked on, confused. “Mama’s sad,” he announced, clinging to my leg. We put him to bed and then I called my parents and my brother. At their urging, I called 911. Around 10:30 p.m., three police officers came over and took my statement. I struggled to recount what I’d done; it seemed like a bad dream. I felt like a fool.

“No government agency will ever ask you for money,” one cop informed me, as if I’d never heard it before. I wanted to scream, “I know. ” Instead, I said, “It didn’t really feel like he was asking.”

The police told me not to worry; the scammers wouldn’t be back. “They got what they wanted,” another officer said, as though it would reassure me. I gave them the photos and recordings I had. They promised to check traffic cameras for the car that had taken the money.

When I woke up the next morning, a few seconds passed before I remembered the previous day. I was my old self, in my old bed, milky dawn light on the walls. Then it all came crashing back, a fresh humiliation, and I curled into the fetal position. I felt violated, unreliable; I couldn’t trust myself. Were my tendencies toward people-pleasing, rule following, and conflict aversion far worse than I’d ever thought, even pathological? I imagined other people’s reactions. She’s always been a little careless. She seems unhinged. I considered keeping the whole thing a secret. I worried it would harm my professional reputation. I still do.

In the days that followed, I kept revisiting the fake world of that afternoon, slipping through a portal into an alternate life. I would get paranoid that someone was reading my texts, watching me as I took my son to school, or using my Social Security number to wire money and rent cars. It was a relief that I wasn’t actually in trouble with the law, but then again — I’d lost $50,000 and I wasn’t getting it back. I checked my accounts and credit cards obsessively. I called my bank. They gave me instructions to freeze my credit, file reports with the FBI and FTC, and run anti-virus software on my laptop to check for malware, which I did. I cried a lot. My husband felt helpless; he still doesn’t like to talk about it. Instead, he researched new locks for our doors and looked into security cameras. One night I shook him awake, convinced that someone was trying to break in. “It’s only the wind,” he said. “We’re safe.”

Fifty thousand dollars is a lot of money. It took me years to save, stashing away a few thousand every time I got paid for a big project. Part of it was money I had received from my grandfather, an inheritance he took great pains to set up for his grandchildren before his death. Sometimes I imagine how I would have spent it if I had to get rid of it in a day. I could have paid for over a year’s worth of child care up front. I could have put it toward the master’s degree I’ve always wanted. I could have housed multiple families for months. Perhaps, inadvertently, I am; I occasionally wonder what the scammers did with it.

Because I had set it aside for emergencies and taxes, it was money I tried to pretend I didn’t have — it wasn’t for spending. Initially, I was afraid that I wouldn’t be able to afford my taxes this year, but then my accountant told me I could write off losses due to theft. So from a financial standpoint, I’ll survive, as long as I don’t have another emergency — a real one — anytime soon.

When I did tell friends what had happened, it seemed like everyone had a horror story. One friend’s dad, a criminal-defense attorney, had been scammed out of $1.2 million. Another person I know, a real-estate developer, was duped into wiring $450,000 to someone posing as one of his contractors. Someone else knew a Wall Street executive who had been conned into draining her 401(k) by some guy she met at a bar.

I felt a guilty sense of consolation whenever I heard about a scam involving someone I respected. If this could happen to them, maybe I wasn’t such a moron. As a journalist, it’s my instinct to research and talk to experts, so I dove into books and podcasts about scams, desperate to make sense of my own. I had known that fraud was on the rise but was shocked to learn the numbers — financial losses ballooned by more than 30 percent in 2022. I read that self-laceration is typical; half of victims blame themselves for being gullible, and most experience serious anxiety, depression, or other stress-related health problems afterward. I heard about victim support groups. I went to therapy.

When I discovered that Katie Gatti Tassin, a personal-finance expert who writes the popular Money With Katie newsletter, lost $8,000 five years ago to a grandmotherly-sounding woman pretending to call from Tassin’s credit union, I called her to ask how she’d coped. “Everyone was so patronizing,” she told me. “The response was basically ‘It’s your fault that this happened.’”

If I had to pinpoint a moment that made me think my scammers were legitimate, it was probably when they read me my Social Security number. Now I know that all kinds of personal information — your email address, your kids’ names and birthdays, even your pets’ names — are commonly sold on the dark web. Of course, the scammers could also have learned about my son from a 30-second perusal of my Instagram feed.

It was my brother, the lawyer, who pointed out that what I had experienced sounded a lot like a coerced confession. “I read enough transcripts of bad interrogations in law school to understand that anyone can be convinced that they have a very narrow set of terrible options,” he said. When I posed this theory to Saul Kassin, a psychology professor at John Jay College of Criminal Justice who studies coerced confessions, he agreed. “If someone is trying to get you to be compliant, they do it incrementally, in a series of small steps that take you farther and farther from what you know to be true,” he said. “It’s not about breaking the will. They were altering the sense of reality.” And when you haven’t done anything wrong, the risk of cooperating feels minimal, he added. An innocent person thinks everything will get sorted out. It also mattered that I was kept on the phone for so long. People start to break down cognitively after a few hours of interrogation. “At that point, they’re not thinking straight. They feel the need to put an end to the situation at all costs,” Kassin said.

I wondered how often scammers are caught and about the guy who’d driven the car to my apartment. But when I asked experts, they doubted he’d be a meaningful lead. One pointed out that he might have been a courier who was told to come pick up a box.

I still don’t believe that what happened to me could happen to anyone, but I’m starting to realize that I’m not uniquely fallible. Several friends felt strongly that if the scammers hadn’t mentioned my son, I would never have fallen for this. They’re right that I’d be willing to do — or pay — anything to protect him. Either way, I have to accept that someone waged psychological warfare on me, and I lost. For now, I just don’t answer my phone.

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