ideas for writing a magazine article

How to Write an Article for a Magazine: Expert Tips and Tricks

By: Author Paul Jenkins

Posted on Published: June 14, 2023  - Last updated: June 23, 2023

Categories Writing

Magazine writing is a unique form of art that requires writers to carefully blend elements of storytelling, informative research, and reader engagement. Crafting an article for a magazine demands a flair for creative writing and an understanding of the submission process and the specific expectations of the magazine’s audience.

With a clear idea of the subject matter and a strong knack for storytelling, anyone can venture into the world of magazine writing and make a lasting impact on the readers.

The journey of writing a magazine article begins with understanding the fundamentals of magazine articles and their unique characteristics. It requires a thorough understanding of the target market, a well-defined topic, and an unmistakable voice to engage readers.

By focusing on these aspects, writers can create articles that resonate with a magazine’s audience, leading to potential ongoing collaborations and publication opportunities.

Key Takeaways

• Magazine writing involves a blend of storytelling, research, and reader engagement.
• Understanding the target audience and article topic is crucial to success.
• Focusing on writing quality and a unique voice can lead to ongoing publication opportunities.

Understanding Magazine Articles

Types of magazine articles.

Magazine articles can differ significantly from newspaper articles or other forms of writing . Several types of magazine articles include features, profiles, news stories, and opinion pieces. Feature articles are in-depth stories that provide substantial information about a specific subject, often written by freelance writers.

Profiles focus on an individual or organization, showcasing their accomplishments or perspective. News stories are shorter pieces that report timely events and updates, while opinion pieces allow writers to share their viewpoints on relevant matters.

The Purpose of a Magazine Article

The primary purpose of a magazine article is to entertain, inform, or educate its readers in an engaging and visually appealing manner. Magazine writing is crafted with the reader in mind, considering their interests, knowledge level, and preferences.

The tone, structure, and style may vary depending on the target audience and the magazine’s genre. This approach allows for a more flexible, creative, and conversational writing form than news articles or research reports.

Magazine articles are an excellent medium for freelance writers to showcase their writing skills and expertise on specific subjects. Whether they’re writing feature articles, profiles, or opinion pieces, consistency, factual accuracy, and a strong connection with the reader are essential elements of successful magazine writing.

Developing Your Article Idea

Finding a story idea.

Developing a great article idea starts with finding a unique and compelling story. As a freelance writer, you must stay updated on current events, trends, and niche topics that can spark curiosity in the readers.

Browse newspapers, magazine websites, blogs, and social media platforms to stay informed and derive inspiration for your topic. Engage in conversation with others or join online forums and groups that cater to your subject area for fresh insights.

Remember to select a theme familiar to you or one with expertise. This approach strengthens your article’s credibility and offers readers a fresh perspective.

Pitching to Magazine Editors

Once you’ve generated a story idea, the next step is to pitch your concept to magazine editors. Start by researching and building a list of potential magazines or publications suited to your topic. Keep in mind the target audience and interests of each publication.

Instead of submitting a complete article, compose a concise and engaging query letter. This letter should encompass a brief introduction, the main idea of your article, your writing credentials, and any previously published work or relevant experience.

When crafting your pitch, aim for clarity and brevity. Magazine editors often receive numerous submissions, so make sure your pitch stands out.

Tailor the tone of your query letter according to the general style of the target magazine, and consider mentioning specific sections or columns you believe your article would fit.

Patience and persistence are key attributes of successful freelance writers. Always be prepared to pitch your article idea to different magazine editors, and do not hesitate to ask for feedback in case of rejection. Refining and adapting your story ideas will increase your chances of getting published.

Remember to follow the guidelines and protocols established by the magazine or publication when submitting your query letter or article pitches. Also, some magazines may prefer to work with writers with prior experience or published work in their portfolios.

Consider starting with smaller publications or creating a blog to build your credibility and portfolio. With a well-developed article idea and a strong pitch, you’re on the right path to becoming a successful magazine writer.

Writing the Article

The writing process.

The writing process for a magazine article generally involves detailed research, outlining, and drafting before arriving at the final piece. To create a compelling article, identify your target audience and understand their preferences.

This will allow you to tailor your content to suit their needs and expectations. Next, gather relevant information and conduct interviews with experts, if necessary.

Once you have enough material, create an outline, organizing your thoughts and ideas logically. This helps ensure a smooth flow and lets you focus on each section as you write.

Revising your work several times is essential, checking for grammar, punctuation, and clarity. Ensure your language is concise and straightforward, making it accessible to a broad range of readers.

Creating an Engaging Opening

An engaging opening is critical in capturing the reader’s attention and setting the tone for the entire article. Begin your piece with a strong hook, such as an intriguing anecdote, a surprising fact, or a thought-provoking question. This will entice readers to continue reading and maintain their interest throughout the piece.

Remember that different publications may have varying preferences, so tailor your opening accordingly.

Organizing Your Content

Organizing your content is essential in creating a coherent and easy-to-read article. Consider segmenting your piece into sub-sections, using headings to clarify the flow and make the content more digestible. Here are some tips for organizing your content effectively:

• Utilize bullet points or numbered lists to convey information in a simple, organized manner
• Highlight crucial points with bold text to draw readers’ attention
• Use tables to present data or comparisons that may be difficult to express in plain text

As you organize your content, keep your target audience in mind and prioritize readability and comprehension. Avoid making exaggerated or false claims, damaging your credibility and negatively impacting the reader’s experience.

Remember to adhere to the submission guidelines provided by the magazine, as each publication may have different preferences and requirements. Following these steps and maintaining a clear, confident tone can create an engaging and informative magazine article that resonates with your readers.

Polishing Your Article

Proofreading and editing.

Before submitting your article to a magazine, ensure it is polished and error-free. Start by proofreading for grammar, spelling, and punctuation mistakes, making your article look more professional and credible. Using tools like grammar checkers is a good idea, but an experienced writer should also manually review their piece as the software might not detect some mistakes.

Editing your article is crucial, as it helps refine the structure and flow of your writing. Eliminate redundant or unnecessary words and reorganize paragraphs if needed. Consider asking a peer or a mentor to review it for an unbiased perspective.

Keep the magazine’s desired writing style in mind, and adapt your article suitably. For example, a news article may require a concise and informative tone, while a feature in a magazine on pop culture may call for a more conversational and engaging approach.

Using Appropriate Language and Style

To make your article stand out, it is essential to use appropriate language and style. Unlike online publication or social media writing, magazine journalism usually demands a more refined and professional tone. Focus on using a clear, neutral, knowledgeable voice conveying confidence and expertise.

Here are some tips to ensure your article fits the magazine’s desired style:

• Ensure you have a compelling subject line that captures the reader’s attention.
• Depending on the type of article you’re writing, decide if your piece should follow a more scholarly approach, like in a scholarly journal, or a more relaxed, opinion-based style found in lifestyle magazines.
• Use relevant examples to support your points, but avoid making exaggerated or false claims.
• Consider your audience and their interests. Choose the right vocabulary to engage them without making the content too pretentious or complicated.

By carefully proofreading and editing your work and using appropriate language and style, you can ensure your magazine article shines. Remember to stay true to your voice and the magazine’s requirements, and maintain a professional tone.

Frequently Asked Questions

What are the key components of a magazine article.

A magazine article typically includes a headline, introduction, body, and conclusion. The headline should be striking and attention-grabbing to capture the reader’s interest. The introduction sets the context and tone of the piece while giving the reader a taste of what to expect.

The body of the article is where the main content and message are conveyed, with vital information, examples, and analysis.

The conclusion summarizes the article by summarizing the main points and often providing a call to action or a thought-provoking question.

What is an effective writing style for a magazine article?

An effective writing style for a magazine article should be clear, concise, and engaging. It is essential to cater to the target audience by using language that resonates with them and addressing relevant topics. Keep sentences and paragraphs short and easily digestible, and avoid jargon unless the publication targets industry professionals.

Adopting a conversational tone while maintaining professionalism usually works well in magazine writing.

How should the introduction be written for a magazine article?

The introduction of a magazine article should engage the reader right from the start by grabbing their attention with a hook. This can be an interesting anecdote, a fascinating fact, or a provocative question. The introduction should also establish the flow of the rest of the article by providing brief context or outlining the piece’s structure.

What are the best practices for structuring a magazine article?

The structure of a magazine article should be well-organized and easy to follow. This often means using subheadings, bullet points, or numbered lists to break up the text and emphasize important content. Start with the most important information, then move on to supporting details and background information. Maintain a logical, coherent flow between paragraphs, ensuring each section builds on the previous one.

How can I make my magazine article engaging and informative?

To make a magazine article engaging and informative, focus on finding the right balance between providing valuable information and keeping the reader entertained. Use anecdotes, personal stories, and real-life examples to make the content relatable and genuine. When applicable, include engaging visuals (such as photos or illustrations), as they aid comprehension and make the article more appealing. Finally, address the reader directly when possible, making them feel more involved in the narrative.

What are some useful tips for editing and proofreading a magazine article?

When editing and proofreading a magazine article, focus on the bigger picture, such as organization and flow. Ensure that the structure is logical and transitions are smooth and seamless. Then, move on to sentence-level editing, examining grammar, punctuation, and style consistency. Ensure that redundancies and jargon are eliminated and that the voice and tone match the target audience and publication. Lastly, proofread for typos and errors, preferably using a fresh pair of eyes or a professional editing tool.

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In This Post:

How to write an article for a magazine.

Pitching a magazine is a whole other beast. When you land a print placement, however, you'll score major credibility points as a writer or industry expert.

Writing an article for your local newspaper, trade magazines, or national magazines is simpler than you think. But simple doesn’t mean easy.

Freelance writers and industry leaders alike want to land a feature article in a print publication, because magazine writing projects authority and expertise. Media publications often reserve their print edition for the best magazine articles, and a features editor or managing editor will be highly selective with which freelance writers they tap for various article opportunities.

Key Takeaways

• Magazine and newspaper bylines are considered very reputable, since these publications have limited space.
• The timing of your pitch is important, as magazines are produced weeks or even months in advance.
• It's good to be on editors' radar, as they often are shuffling an issue up until the 11th hour, and may want to assign you a piece with quick turnaround to fill a hole.

It’s not just the high quality of the article that makes print pitching different. In magazine journalism , brands often put their issues together months in advance to ensure they’re printed, shipped, and sold on schedule.

In addition to pitching a good magazine article, you also need to send your query letter at the right time in the magazine production process before you start writing. Newspaper articles don’t require as long of a lead time. It all depends on the publication’s submission guidelines.

Related: How to Pitch an Article: 72 Outlet How-Tos

If you’d love to one day write an opinion article, pen a personal essay, or just get more freelance writing jobs with popular magazines, here is what to keep in mind in magazine writing.

Writing for Magazines: A Coveted Byline

Before the internet, media was mainly delivered through print journalism. A freelance writer or aspiring magazine writer would send a query letter to the editor, and magazine editors would decide which magazine articles to pursue, based not only on the article ideas themselves, but also how well they balance one another, based on personal experience.

In print, there is a finite amount of space on the page. In contrast, websites can publish all the articles — they just create a new URL for every article — so the constraint is editor and writer labor, not lack of space or word count. Article placement in a magazine has greater merit and is considered more valuable, even if it’s a local magazine.

Important : It can be tough to pitch a big feature story right out of the gate. Consider pitching a smaller story in the 700-1,200 word range first to build rapport with an editor.

Many of today’s magazines have been around for decades, if not longer, and they’ve built up a track record for editorial quality and influence. We assume that, if someone has written for a reputable magazine or national publications for a particular topic, they are a skilled freelance writer.

In our digital age, many of the most established brands continue to publish a physical magazine, even if the magazine’s readership has declined, because it cements their status as an influential publication. Often, if you write a magazine article, it will also be used online.

This was the case for me when writing an article for OUT magazine. My entire article was accepted, and received a two-page spread in the mag, but it was also published as a post online.

Pro tip: acquire physical copies of your placements so you can document them and use them online, ethically.

How to Pitch a Magazine in 3 Steps

Pitching a physical magazine is similar to other pitching efforts. The single most important factor to a winning pitch is that it’s relevant to the magazine’s target audience. The following three steps will help you ensure your pitch is on point every time; even if your pitch isn’t accepted, editors keep an eye on staff writers and other writers who consistently send relevant pitches, and eventually you will see progress.

Step 1: Research Current and Upcoming Magazine Topics

Read the magazine! What you think a magazine covers based on what you read ten years ago may not be what the outlet covers at all anymore. Browse both the publication’s website and the physical magazine itself to get a sense of their writing and what the brand is currently covering. Look at the news articles and writing styles.

Additionally, for physical magazines, it’s worth your time to poke around online for either a media kit or an editorial calendar . These kits are sales PDFs a magazine makes publicly available to attract prospective advertisers. The kit comes out in the fall or winter each year for the upcoming year, and lists the planned theme of every issue. This can be helpful intel when pitching big publications.

To see what the online version of a brand has previously covered, you can do a web search on Google for that specific site. Start your search with “site:www.outletdomain.com”, then search a topic. In this example, I searched past coverage of Gen Z on Entrepreneur’s website.

The "site:" command in a Google search query will let you filter search results to a particular website.

Knowing an outlet will help you tailor your article pitch to fit the voice, style, and format of the target publication.

Step 2: To Locate Gatekeepers, Find a Masthead

Now comes the tricky part: pitching the editor or decision-maker who oversees print coverage. Luckily, most magazines’ editors and other personnel responsible for bringing a magazine to life will be credited in both the physical issue and online. This list is called a masthead.

A major magazine will engage many writers and other contractors to bring an issue to life, but the staff who are listed on the masthead are almost always directly involved in the production process. This is helpful research material.

For example, searching “Allure masthead” led me directly to their digital masthead page.

The Allure masthead. Screenshot captured November 1, 2022.

From the masthead, do some digging on where these different editors are hanging out outline. Are they on Twitter, LinkedIn, or Instagram? Are they writing articles for magazines as well? What stories are they currently publishing? Also track down their email address.

Step 3: Craft a Strong, Print-Specific Pitch

In print article pitching, every word needs to earn its way onto the page. Your article pitch should have a compelling idea and a fresh perspective; specify whether you want to be considered for print publication, online publication, or both.

Most PR pitches are templates, press releases, or cookie-cutter stock pitches. The key to getting momentum in an article pitch is to hook the editor or journalist in the first couple of sentences. Indicate that your article pitch is not a stock pitch, and make a case for why this article is a perfect fit for them.

Pitch Your Next Magazine Article Today

Article pitching can feel overwhelming at first, but at the end of the day, story ideas just like yours are what make it to newsstands and get read by millions. Remain pleasantly persistent, and eventually your pitching efforts will pay off.

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11 Most Popular Types of Articles to Write for Magazines

• by Laurie Pawlik
• September 4, 2023
• 31 Comments

Want to write for magazines? This list includes feature stories, roundups, profiles, research shorts, human interest, how-to articles and more. You’ll be surprised by how many types of online and print magazine articles you can write! Whether you’re an aspiring freelance writer or an established author you’ll find lots of ideas in this list.

Learning about the different types of magazine articles is one thing. More important is finding courage to write boldly and the strength to keep pitching ideas to editors! May you get published again and again. And, may you prepare yourself to do the work now — before the day ends and you lose your momentum.

The most important thing to remember when you’re looking for different types of magazine articles to write is your audience. Learn how to slant your writing to the target audience, publisher, and editor of the magazine or publication. Books like  Writer’s Market: The Most Trusted Guide to Getting Published – are essential to your success. They reveal details and information for freelance writers that you won’t find online.

“You can’t sit in a rocking chair with a lily in your hand and wait for the Mood,” writes author Faith Baldwin in The Writer’s Handbook . “You have to work. You have to work hard and unremittingly, and sacrifice a great deal; and when you fall at, or fail to clear, an obstacle (usually an editor), you have to pick yourself up and go on.”

A crucial part of earning money as a freelance writer is knowing what to work hard on. Learning about the different types of magazine articles is an excellent way to start a freelance writing career, or even boost a faltering author’s yearly income. If you’re serious about selling your writing and making money writing, you need to be constantly learning about writing, getting published, and working with editors.

“Two types of articles continue to dominate the changing field of magazine publishing,” writes Nancy Hamilton in Magazine Writing: A Step-by-Step Guide to Success . “The personality profile and the how-to story with its self-help variant. Together, they account for an estimated 72% of magazine feature material.”

11 Different Types of Magazine Articles

I’ve been published in several different magazines (such as  Reader’s Digest, Chatelaine, Women’s Health  and More ) and have written each one of these different types of magazine articles…except for the exposé. My favorite is writing research shorts for magazines – but they are just that ( short ) and thus don’t pay much.

As you read through the following types of articles, think about which one you most like to read. This will help you decide what type of article to research and write. The best writing comes from writers who are enjoying their work and passionate about their topic, so don’t hesitate to choose the project that lights your fire.

1. “How To” Articles

“Easily the most popular and the shortest and easiest to write, the how-to article with its self-help variant gives instructions for how to do or be something or how to do it better,” writes Hamilton in Magazine Writing .

“How to” articles:

• Make a rousing promise of success
• Describe what you need in easy to follow instructions
• Give step-by-step directions (sometimes with subtitles)
• Include shortcomings or warnings
• Tell how to locate supplies
• Give proofs and promises
• Make referrals to other sources

Examples of “how to” articles are: “How to Write Magazine Articles That Editors Love to Publish” or “How Freelance Writers Earn a $100,000 Every Year” or How to Think Like a Magazine Editor – 8 Tips for Writers . “How to” articles are my favorite type of feature articles; they simply tell readers how to do something.

Tip for freelance writers: Some magazine or newspaper editors require writers to submit their own photos for how-to articles. Before you accept an assignment from an editor, ask what their photo policy is.

2. Profile and Interview Articles

This popular type of article describes a contemporary or historical person – but a profile doesn’t have to be about a human being! Animals, communities, nations, states, provinces, companies, associations, churches can all be profiled (but not necessarily interviewed).

Personality profiles and interview articles:

• Have different definitions. In a personality profile, you use additional sources, such as friends, family, kids, neighbors, colleagues. In an interview, you talk to the source him or herself – preferably in person.
• Can have a theme or focus.
• Can be presented as a “Q & A” or a written article.
• Require strong interviewing and perception skills for the “best” information

Examples of profiles or interview articles are: “The Real Natalie Goldberg and Her Real Writing Career” or “Anne Lamott Shares Her Secrets for Writing Different Types of Magazine Articles.” Profiles and interview are two different types of magazine articles to write.

About this type of magazine article Hamilton says, “The most successful personality profile allows the reader to experience the story directly without having to filter that experience through the ‘I’ of an unknown writer. Despite this common-sense perspective, many magazines today prefer the ‘I’ approach for personality profiles.” Why? Because most editors want to encourage a personal relationship between the magazine and the reader by addressing them personally.

3. Informative or Service Articles

Informative articles are also know as “survey articles.” They often offer information about a specific field, such as sports medicine, health writing, ocean currents, politics, etc. Service articles are similar, but often used as shorter fillers. Service articles offer a few pieces of good advice or tips, but aren’t usually long or involved.

Informative or service articles:

• Focus on one unique aspect, or the “handle”
• Describe what-to, how-to, when-to, why-to, etc.
• Answer the journalist’s who, what, when, where, why, and how questions
• Can end with a “how-to” piece as a sidebar

Examples of this type of magazine article include: “How to Write Query Letters for Magazines” or “ 10 Magazine Writing Tips From a Reader’s Digest Editor ” or “11 Types of Magazine Articles to Write for Magazines.”

The informative or service article is similar to the how-to type of magazine article. I’d love to write a service article for the SPCA, but I’m too busy with my blogs to pitch article ideas to editors.

4. The Alarmer-Exposé

“A Reader’s Digest staple, the alarmer-exposé is designed to alert and move the reader to action,” writes Hamilton in Magazine Writing . “Well-researched and heavy with documentation, this type of magazine article takes a stance and adopts a particular point of view on a timely and often controversial issue. Its purpose is to expose what’s wrong here.”

• Shocks or surprises readers
• Includes statistics, quotes, anecdotes
• Can range from how extension cords can kill to new info on Watergate

“This article is best written by an established writer who is skilled in reporting an issue and building a case without flagrant – and apparent – bias,” says Hamilton.

Examples of an exposé magazine article are: “Stephen King’s Ghostwriter Reveals Secret Writing Career” or “95% of Natalie Goldberg’s Writing is From a Ghostwriter!” Those aren’t actual feature articles that were written by freelance writers – they’re just examples of the different types of magazine articles.

5. Human Interest Magazine Articles:

• Usually start with an anecdote
• Are often chronologically organized

Examples of human interest magazine articles are: “Anne Lamott Shares Her Secrets to Success as a Single Mother and Bestselling Author” or “Mark Twain’s Great-Granddaughter Discovers a Brand New Type of Magazine Article.” This type of feature article interests the majority of readers of a specific, niched magazine.

People  is currently one of the most popular magazines on the market, and it specializes in this type of article. If you find someone who has done or experienced something extraordinary – and if your writing skills are pretty good – you might consider sending a query letter to the editors at People .

6. Essay, Narrative, or Opinion Articles

This is my least favorite type of magazine article or blog post to write! I’m not a big writer of personal stories (nor do I like to read autobiographies, biographies, or personal blogs). I’d much rather encourage readers by sharing information – such as these 11 different types of articles to write magazines 🙂

Essay, narrative, or opinion articles:

• Usually revolve around an important or timely subject (if they’re to be published in a newspaper or “serious” magazine)
• Are harder to sell if you’re an unknown or unpublished writer
• Can be found on blogs all over the internet

Here’s some great writing advice from Hamilton: “The narrative uses fiction technique to recreate the tension, the setting, the emotion – the drama – of something that actually happened. The article must have implications and ramifications that are meaningful to a reader. It must be relevant to what’s going on today – one event that relates to the larger whole.”

Examples of this type of magazine article are: “What I Think of Natalie Goldberg’s Decision to Retire From Her Writing Career” or “Anne Lamott’s Most Famous Writing Mistakes.”

If you feel overwhelmed with all these types of magazine articles, read How to Write When You Have No Ideas .

7. Humor or Satire Articles

Humor or satire articles are really hard to write. I just read today – in the University of Alberta’s Trail  magazine – that it takes the Simpsons’ writers and staff SIX MONTHS to write and produce a single episode! That’s because humor writing seems easy and fast, but it’s actually the hardest type of writing to learn…not to mention master.

Humor or satire articles:

• Usually have a specific audience, such as the readers of The Onion
• Are usually written on spec (that is, you submit the whole article before the editors or publishers will accept it for publication in the magazine)

Examples of humor or satire articles might include:  “Ode to Stephen King’s Typewriter” or “What Margaret Laurence Ate the Day She Started Writing Articles for Magazines.”

8. Historical Articles

What can I say? A historical article describes a moment in time. Or an epoch. Or an era. Or an eon.

Historical articles:

• Reveal events of interest to millions (which means at least one of my examples wouldn’t work as this type of article)
• Focus on a single aspect of the subject
• Are organized chronologically
• Tell readers something new
• Go beyond history to make a current connection

Examples of this type of magazine article include: “The Typewriter Mark Twain First Used” or “How Freelance Writers Submitted Articles Before Typewriters Were Invented” or “How the Use of the Word ‘Tweet’ Evolved From 2005 to Now.”

9. Inspirational Magazine Articles

• Describe how to feel good or how to do good things
• Can describe how to feel good about yourself – this type of article can work for anyone from writers to plumbers to pilots
• Offer a moral message
• Focus on the inspirational point

Examples of different types of inspirational articles for magazines are: “How You Can Change the World With Your Writing Career” or “13 Tips to Improve Your Writing Confidence.”

This is probably my second most favorite type of feature article to write. It’s definitely the post I write most often on my Blossom blogs!

10. Round-Up Magazine Articles

• Gather a collection from many sources
• Focus on one theme
• Offer quotations, opinions, statistics, research studies, anecdotes, recipes, etc.

The Round-Up was one of my favorite types of magazine articles to write when I was freelancing. Examples of round up articles are: “ 12 Fiction Writing Tips From Authors and Editors ” or “1,001 Types of Articles to Write for Magazines.” I enjoy writing round-ups because I can squeeze in lots of information in 1,000 words.

11. Research Shorts

• Describe current scientific information
• Are usually less than 250 words long
• Are often written on spec (at least by me)
• Are fast, effective ways to earn money as a freelance writer – if you can find the right markets

Research Shorts for the “Front of the Book” are those little blurbs of scientific research you see at the beginning of many magazines.   Examples of these types of articles for magazines include: “How Alliteration Affects Your Memory” or “What Anne Lamott’s Writing Does to Your Brain Waves.”

Shorts aren’t really a type of magazine article, but they’re a great way to get your foot in the door and learn what articles editors will pay to publish .

Types of Magazine Articles You Can Write

In 11 Most Popular Articles to Write for Magazines | Tips for Freelance Writers I share different types of articles to write, to help you get published in the right magazine.

My list includes feature length stories, roundups, personality profiles, research shorts, human interest pieces, and “how to” articles. I also included examples of magazines that publish each type of article. Whether you’re an aspiring freelance writer or an established author you’ll find lots of ideas in this list.

Here’s a tip from bestselling author Natalie Goldberg about being a successful writer: “I hear people say they’re going to write. I ask, when? They give me vague statements,” she writes in  Thunder and Lightning: Cracking Open the Writer’s Craft . “Indefinite plans get dubious results.”

What are your writing goals, and how will you achieve them? Have you made a specific plan? After you read through these different types of articles to write for magazines, create goals for yourself.

Writer’s Digest Magazine

Writer’s Digest Magazine  is my favorite periodical about writing; a subscription is both motivating and informative. The more you learn about freelance writing – including the business of writing – the easier it’ll be to remember the different types of magazine articles you can write for magazines.

If you want to be a freelance writer, you have to do more than just learn about the different types of magazine articles to write for magazines. You need to research professional writing organizations, learn how to write query letters for editors, and where to pitch your ideas.

If you have any thoughts or questions about writing these types of feature articles for magazines and other publications, feel free to share below.

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31 thoughts on “11 Most Popular Types of Articles to Write for Magazines”

What if you wrote a catchier title? I don’t want to tell you how to run your Successful Writers blog, but suppose you added something to possibly grab folk’s attention? I mean 11 Popular Magazine Articles That Editors Love to Publish is a little vanilla. You ought to peek at Yahoo’s home page and see how they create post titles to get viewers to click. You might try adding a video or a related pic or two to get readers interested about everything’ve got to say. Just my opinion, it could make your Successful Writers blog a little livelier.

Thank you , Laurie! I am just starting my online magazine UpMixed in a month so these tips are going to help me.

“By the time I was fourteen the nail in my wall would no longer support the weight of the rejection slips impaled upon it. I replaced the nail with a spike and went on writing.” ~ Stephen King

Most writers starts their publishing journey the wrong way. They want to start big. They want a book contract, a speaking tour, and all-around international fame and notoriety. But that’s not how this thing works. we need to start small. This is a blessing in disguise, actually, as you are probably not that good when you are just beginning. You need time to practice writing articles for magazines that are of publishable quality.

Dear Newbie Magazine Writer,

Here’s an article that will give you a few pointers:

How to Write a Query Letter and Get Your Article Published https://www.theadventurouswriter.com/blogwriting/how-to-write-query-letters-for-magazine-articles/

Let me know what happens after you pitch your query to the magazine editor! It sounds like a winner 🙂

I have a brilliant idea for an article, and I believe it’s perfect for the publication I have in mind. I just don’t know how to write a query letter to a magazine. Can you help me by giving me a formula or structure on how to pitch my idea to the editor? I haven’t done much research or reading, but I found this article on the different types of magazine articles helpful. Thank you for any direction you can offer!

Nice ☺☺☺ would give some topics of Articles. ..?

I also need some topics

Dear Lokesh,

Your first step is to learn how to write English really, really well. Take ESL courses, read books, practice writing, do whatever it takes to learn how to write English.

At the same time, you need to learn the business of freelance writing. It’s a career, not a hobby. It takes time, dedication, and energy.

Here’s one place to start:

How to Become a Freelance Writer https://www.theadventurouswriter.com/blogwriting/how-to-be-a-freelance-writer/

Read books about freelance writing, pitching articles to editors, and becoming a journalist. Rolling Stone is an amazing magazine and it’s difficult to get published in it — but you CAN do it!

Take it one step at a time. Keep learning English – you’re doing great so far – and keep reading articles, blogs, and books about becoming a freelance writer for magazines.

You can do it! Remember that nothing worth having is easy. Everything good in life takes hard work. If it was easy, everyone would do it.

Blessings, Laurie

Thanks for the help Ressa, I am just a student and I confuse for my future because every time I thinking a new Idea like what I want or which field is good for me and finnaly I diciede what I want….!! Article writer and for me I think it’s a very good choice but still I little confused that how I write my first artical, actually the problem is that my mind is confuse that what is a good topic for me…. cause I need a very new or u can say a “fresh” topic which is never be write buy anyone And unlucky my first problem is that I am not good in English as well as in grammar so, If u don’t mind any u tell me any idea how to start my dream work ???? And Yaa one more thing I want to tell my dream company also which I want to work with and the name is (rolling stone) so u think in future there is any chance to get or touch my dream???

Thanks Ressa, I appreciate your thoughts! A profile is one type of feature article, so I meant what I originally wrote 🙂

There sure are a lot of choices for magazine articles…but my favorite is still blogging. I love the freedom and immediacy of writing blog posts, without having to worry about pitching article ideas to editors. But, blogging doesn’t offer as much exposure as writing for magazines does. Unless of course you write for the HuffPost!

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How to Write a Magazine Article

Last Updated: October 11, 2023 Fact Checked

This article was co-authored by Gerald Posner . Gerald Posner is an Author & Journalist based in Miami, Florida. With over 35 years of experience, he specializes in investigative journalism, nonfiction books, and editorials. He holds a law degree from UC College of the Law, San Francisco, and a BA in Political Science from the University of California-Berkeley. He’s the author of thirteen books, including several New York Times bestsellers, the winner of the Florida Book Award for General Nonfiction, and has been a finalist for the Pulitzer Prize in History. He was also shortlisted for the Best Business Book of 2020 by the Society for Advancing Business Editing and Writing. There are 7 references cited in this article, which can be found at the bottom of the page. This article has been fact-checked, ensuring the accuracy of any cited facts and confirming the authority of its sources. This article has been viewed 931,313 times.

Magazine articles can be a big boost for seasoned freelance writers or writers who are trying to jump-start their writing careers. In fact, there are no clear qualifications required for writing magazine articles except for a strong writing voice, a passion for research, and the ability to target your article pitches to the right publications. Though it may seem like magazines may be fading in the digital age, national magazines continue to thrive and can pay their writers $1 a word. [1] X Research source To write a good magazine article, you should focus on generating strong article ideas and crafting and revising the article with high attention to detail.

Generating Article Ideas

• Check if the bylines match the names on the masthead. If the names on the bylines do not match the masthead names, this may be an indication that the publication hires freelance writers to contribute to its issues.
• Look for the names and contact information of editors for specific areas. If you’re interested in writing about pop culture, identify the name and contact information of the arts editor. If you’re more interested in writing about current events, look for the name and contact information of the managing editor or the features editor. You should avoid contacting the executive editor or the editor-in-chief as they are too high up the chain and you will likely not interact with them as a freelance writer.
• Note recent topics or issues covered in the publication and the angle or spin on the topics. Does the publication seem to go for more controversial takes on a topic or a more objective approach? Does the publication seem open to experimentation in form and content or are they more traditional?
• Look at the headlines used by the publication and how the articles begin. Note if the headlines are shocking or vague. Check if the articles start with a quote, a statistic, or an anecdote. This will give you a good sense of the writing style that gets published in that particular publication.
• Note the types of sources quoted in the articles. Are they academic or more laymen? Are there many sources quoted, or many different types of sources quoted?
• Pay attention to how writers wrap up their articles in the publication. Do they end on a poignant quote? An interesting image? Or do they have a bold, concluding thought?

• These inspiring conversations do not need to be about global problems or a large issue. Having conversations with your neighbors, your friends, and your peers can allow you to discuss local topics that could then turn into an article idea for a local magazine.

• You should also look through your local newspaper for human interest stories that may have national relevance. You could then take the local story and pitch it to a magazine. You may come across a local story that feels incomplete or full of unanswered questions. This could then act as a story idea for a magazine article.

• You can also set your Google alerts to notify you if keywords on topics of interest appear online. If you have Twitter or Instagram, you can use the hashtag option to search trending topics or issues that you can turn into article ideas.

• For example, rather than write about the psychological problems of social media on teenagers, which has been done many times in many different magazines, perhaps you can focus on a demographic that is not often discussed about social media: seniors and the elderly. This will give you a fresh approach to the topic and ensure your article is not just regurgitating a familiar angle.

Crafting the Article

• Look for content written by experts in the field that relates to your article idea. If you are doing a magazine article on dying bee populations in California, for example, you should try to read texts written by at least two bee experts and/or a beekeeper who studies bee populations in California.
• You should ensure any texts you use as part of your research are credible and accurate. Be wary of websites online that contain lots of advertisements or those that are not affiliated with a professionally recognized association or field of study. Make sure you check if any of the claims made by an author have been disputed by other experts in the field or have been challenged by other experts. Try to present a well-rounded approach to your research so you do not appear biased or slanted in your research.

• You can also do an online search for individuals who may serve as good expert sources based in your area. If you need a legal source, you may ask other freelance writers who they use or ask for a contact at a police station or in the legal system.

• Prepare a list of questions before the interview. Research the source’s background and level of expertise. Be specific in your questions, as interviewees usually like to see that you have done previous research and are aware of the source’s background.
• Ask open-ended questions, avoid yes or no questions. For example, rather than asking, "Did you witness the test trials of this drug?" You can present an open-ended question, "What can you tell me about the test trials of this drug?" Be an active listener and try to minimize the amount of talking you do during the interview. The interview should be about the subject, not about you.
• Make sure you end the interview with the question: “Is there anything I haven’t asked you about this topic that I should know about?” You can also ask for referrals to other sources by asking, “Who disagrees with you on your stance on this issue?” and “Who else should I talk to about this issue?”
• Don’t be afraid to contact the source with follow-up questions as your research continues. As well, if you have any controversial or possibly offensive questions to ask the subject, save them for last.

• The best way to transcribe your interviews is to sit down with headphones plugged into your tape recorder and set aside a few hours to type out the interviews. There is no short and quick way to transcribe unless you decide to use a transcription service, which will charge you a fee for transcribing your interviews.

• Your outline should include the main point or angle of the article in the introduction, followed by supporting points in the article body, and a restatement or further development of your main point or angle in your conclusion section.
• The structure of your article will depend on the type of article you are writing. If you are writing an article on an interview with a noteworthy individual, your outline may be more straightforward and begin with the start of the interview and move to the end of the interview. But if you are writing an investigative report, you may start with the most relevant statements or statements that relate to recent news and work backward to the least relevant or more big picture statements. [10] X Research source
• Keep in mind the word count of the article, as specified by your editor. You should keep the first draft within the word count or just above the word count so you do not lose track of your main point. Most editors will be clear about the required word count of the article and will expect you not to go over the word count, for example, 500 words for smaller articles and 2,000-3,000 words for a feature article. Most magazines prefer short and sweet over long and overly detailed, with a maximum of 12 pages, including graphics and images. [11] X Research source
• You should also decide if you are going to include images or graphics in the article and where these graphics are going to come from. You may contribute your own photography or the publication may provide a photographer. If you are using graphics, you may need to have a graphic designer re create existing graphics or get permission to use the existing graphics.

• Use an interesting or surprising example: This could be a personal experience that relates to the article topic or a key moment in an interview with a source that relates to the article topic. For example, you may start an article on beekeeping in California by using a discussion you had with a source: "Darryl Bernhardt never thought he would end up becoming the foremost expert on beekeeping in California."
• Try a provocative quotation: This could be from a source from your research that raises interesting questions or introduces your angle on the topic. For example, you may quote a source who has a surprising stance on bee populations: "'Bees are more confused than ever,' Darryl Bernhart, the foremost expert in bees in California, tells me."
• Use a vivid anecdote: An anecdote is a short story that carries moral or symbolic weight. Think of an anecdote that might be a poetic or powerful way to open your article. For example, you may relate a short story about coming across abandoned bee hives in California with one of your sources, an expert in bee populations in California.
• Come up with a thought provoking question: Think of a question that will get your reader thinking and engaged in your topic, or that may surprise them. For example, for an article on beekeeping you may start with the question: "What if all the bees in California disappeared one day?"

• You want to avoid leaning too much on quotations to write the article for you. A good rule of thumb is to expand on a quotation once you use it and only use quotations when they feel necessary and impactful. The quotations should support the main angle of your article and back up any claims being made in the article.

• You may want to lean on a strong quote from a source that feels like it points to future developments relating to the topic or the ongoing nature of the topic. Ending the article on a quote may also give the article more credibility, as you are allowing your sources to provide context for the reader.

Revising the Article

• Having a conversation about the article with your editor can offer you a set of professional eyes who can make sure the article fits within the writing style of the publication and reaches its best possible draft. You should be open to editor feedback and work with your editor to improve the draft of the article.

• You should also get a copy of the publication’s style sheet or contributors guidelines and make sure the article follows these rules and guidelines. Your article should adhere to these guidelines to ensure it is ready for publication by your deadline.

• Most publications accept electronic submissions of articles. Talk with your editor to determine the best way to submit the revised article.

Sample Articles

Expert Q&A

You Might Also Like

Expert Interview

Thanks for reading our article! If you'd like to learn more about writing an article, check out our in-depth interview with Gerald Posner .

• ↑ http://grammar.yourdictionary.com/grammar-rules-and-tips/tips-on-writing-a-good-feature-for-magazines.html
• ↑ https://www.writersdigest.com/writing-articles/20-ways-to-generate-article-ideas-in-20-minutes-or-less
• ↑ http://www.writerswrite.com/journal/jun03/eight-tips-for-getting-published-in-magazines-6036
• ↑ http://www.thepenmagazine.net/20-steps-to-write-a-good-article/
• ↑ https://www.youtube.com/watch?v=0R5f2VV58pw
• ↑ https://www.writersdigest.com/write-better-nonfiction/how-many-different-kinds-of-articles-are-there
• ↑ http://libguides.unf.edu/c.php?g=177086&p=1163719

About This Article

To write a magazine article, start by researching your topic and interviewing experts in the field. Next, create an outline of the main points you want to cover so you don’t go off topic. Then, start the article with a hook that will grab the reader’s attention and keep them reading. As you write, incorporate quotes from your research, but be careful to stick to your editor’s word count, such as 500 words for a small article or 2,000 words for a feature. Finally, conclude with a statement that expands on your topic, but leaves the reader wanting to learn more. For tips on how to smoothly navigate the revision process with an editor, read on! Did this summary help you? Yes No

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Knowledge Base > Magazines > How to Write a Magazine Article? 12 Golden Rules

How to Write a Magazine Article? 12 Golden Rules

Although the number of magazines is shrinking in the digital age, many magazines have moved online. Many magazines created by online magazine maker are still popular, and authors enjoy fame and respect. That’s why, for many freelance writers, writing articles in magazines is often a career goal – because the pay can be ten times more per word than writing articles or texts for the local newspaper.

Writing magazine articles requires a different skill set than writing blog posts, screenplays, or advertisements. What’s more, as a magazine writer, more than in any other industry, you need to specialize to succeed. You write articles about history differently, sports differently, and sports history in a different way still.

A talent for writing, a love of meticulous research, and flexibility in creating texts are vital skills you need to master. Therefore, many people are interested in creating and publishing their own magazine need to master this specific style and learn how to write a magazine article.

What is a magazine?

A magazine is a publication that is a collection of articles that appears regularly. The magazine articles can be about any topic, as well as topics that interest a specific group, such as sports fans, music fans, or board game enthusiasts.

A magazine can be published weekly, monthly, bimonthly, or only a few times a year. Most magazines are published once a week or once a month. Most magazine articles do not have a list of sources and are written by regular magazine editors and writers, rarely freelance writers.

Most magazine articles are easy to read and don’t take too long to read. They are often illustrated with photos or other images, and are written with simple but remarkable fonts . Today, magazines are increasingly being replaced by websites, but there are still many magazines on various topics.

What is a magazine article?

A magazine article is a specific text that can be found in a magazine or newspaper. It can be a report, a profile of an important person, an opinion piece, a discussion of a topic or a personal essay. Depending on the topic, a magazine article is usually 1,000 to 5,000 words long.

The magazine usually employs a group of editors who come up with a theme for each issue and relevant article ideas. This way, all the articles and features in the issue will have something in common. A sports magazine might talk about the start of a new season, a political magazine about an upcoming election, and a Valentine’s Day issue might be about romance.

How the format of a magazine article differs from that of a newspaper or other articles? In a newspaper that comes out every day, put the most important parts of the story first. Newspaper articles are usually read once and aren’t supposed to influence anyone. It has to be news, something you want to read.

On the other hand, a good magazine article should often start with a mystery, a question, or a situation that makes the reader want to read on. Daily newspaper articles should be unbiased descriptions of what happened, while magazine articles, often subjective, can cover a particular topic from a certain angle. To learn how to write a magazine article, you need to know what the magazine is about and how to appeal to its readers.

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Your audience, and you, can embed your magazines in websites or emails, or share them on social media platforms. It only takes one click to go to your magazine and start reading interesting articles.

Types and examples of magazine articles

Magazine editors categorize articles by type and often mention them in publication’s submission guidelines, so knowing these types by name will help you communicate with the editor. These are: First Person Article, Opinion Piece, Information or Service Piece, Personality Profile, and Think Piece. Many news articles, how-to articles, and reviews can also be found in magazines, but they are slightly different, and many of these have moved online, to digital magazines . Articles can also feature essays or humor pieces.

First Person Article

First-person magazine articles are written in the first person because they are based on personal experience. Depending on their length and newsworthiness, they can be sold as feature articles or essays. They are frequently personal accounts, especially interesting if they are written by a well-known magazine writer or celebrity. Typically, the purpose of such an article is stated in the first line or paragraph to hook the magazine’s target audience, such as “I voted for this politician, and now I regret my life choices.” When you write a magazine article like this one, you should present an unpopular or overlooked point of view from a fresh perspective.

Opinion Piece

This kind of magazine writing piece or opinion essay is less personal than the First-Person Article, but it still requires a narrow focus on a specific topic. The reader’s main question is, “Why are you qualified to render an opinion?” Everyone has an opinion, but why should anyone read yours?

If you’re an expert on this subject, let the reader know right away. Don’t criticize music trends if you’re not a musician! Demonstrate your knowledge, and support your opinion with up-to-date information and credentials.

Information/Service Piece

An informational or service piece expands the reader’s understanding of a particular subject. This can be a guide, a list of important issues. You can either be the expert or interview one. These are extremely pertinent to a specific industry. In a sports magazine article, you can explain a complete history of a sports team and its roster for the upcoming season.

You can expect some in-depth knowledge if the article title contains the phrases like Myths about or Secrets of. Explain everything you know: magazine journalism is different than being a freelance writer in that you should have some industry knowledge already.

Personality profile

This type of magazine article can present a silhouette of an important or relevant person – a politician, a political activist, a sports legend… If you’re writing for a video game magazine you can showcase a famous game designer or even an entire article can be about a game character like Lara Croft or Guybrush Threepwood, if the fictional character is detailed enough! Explain why readers will find this person interesting or noteworthy.

Think Piece

Written in an investigative tone, the think piece frequently shows the downside or less popular ideas of a popular industry aspect. This magazine article could also explain why something is popular or why a political party lost elections. A think piece is more in-depth than most feature articles and necessitates credibility. Confirm your thesis by interviewing analysts and experts. This type of article can be also found in zines , self-published magazines in small circulation, which often focus on niche hobbies, counterculture groups, or subcultures. If you would like to expend your knowledge about interviewing, make sure to check our guide on how to write an interview article .

How to start a magazine article?

Most creative writing professionals would agree that the best way to start writing a magazine article is with a strong opening sentence. A feature article must draw the attention of your target audience, and grab them from the go.

You can start by asking the reader a question which you will answer in the text of the article – for instance “Did you know that most users of Windows never use 80% of their functions – and that’s a good thing?”. In the content of your magazine articles you will be able to answer this question.

Another example of a good magazine article beginning is storytelling – human brains are fascinated by stories. Starting your example with “20 years ago no one in the industry knew what a genitine was, but now their inventor is one of the most influential people” can draw attention and spike up curiosity.

A great example is also a shocking quote – a compelling idea that goes against the grain is sure to capture the reader’s attention.

Most creative magazine article ideas

Even the most experienced journalists can often be looking for ideas for great articles. How to write a magazine article if you don’t have the slightest idea? Here are some of our suggestions:

Take a look at your specialty. If you’re a freelance writer, it’s a good idea to write about what you know. Delve into a topic thoroughly, and you’ll eventually find your niche and you might move from freelance writing jobs to magazine writing! Why? Having a writing specialty will make magazine editors think of you when story ideas in that genre come up.

Check out what’s trending. When browsing popular stories on social networks, many freelancers choose to write about current events. Lists of popular articles can help you understand what to focus your efforts on. Keep in mind that an article for national magazines needs to be well researched, and what’s trending now may change before the magazine finally comes out.

Reach out to the classics. Nostalgia always sells well. You can go back to books or movies that people remember from their youth or, for example, summarize the last year. Lists and numbers always look good!

12 rules on how to write great magazine articles

1. Write what you know about

If your articles are really fascinating and you know what you are writing about, you have a better chance of getting published, whether in a local newspaper or in a major magazine. Writing requires researching your chosen issue thoroughly. Identify perspectives that have not been explored before – describe something from the perspective of a woman, a minority, or a worker.

2. Research how you should write

Check the writing style requirements or guidelines of the magazines to which you want to submit your work. Each magazine has its own set of guidelines on what topics, manner and tone to use. Check out Strunk and White Elements of Style for tips on writing styles, as this is what many magazines draw from.

3. Remember to be flexible

One of the most valuable writing talents a journalist can possess is flexibility. You may find that you discover completely new facts while writing a magazine article and completely change your approach. Maybe you’ll change your mind 180 degrees and instead of attacking someone, you’ll defend them – anything to attract attention.

4. Make connections and meet people

Networking is important in any business, especially for freelance writers who want to make a jump to magazine writing. Editors regularly quit one magazine to work for another. Therefore, remember to know the people first and foremost than the magazine they work for.

5. Prepare a query letter

A query letter tells the editors why your magazine article is important, whether you think someone will want to read it and why you feel obligated to write it. Add to it a text sample and some information about yourself as a writer. Even a local magazine might not be aware of who you are, after all.

6. Prepare an outline

Always before writing a text have an outline that you can use when composing your articles. It must contain the important ideas, the content of the article body and the summary, the points you will include in it. You will find that it is easier to fill such a framework with your own content.

7. Meet the experts

You need to know pundits in your industry. There are several methods of locating experts, from networking to calling organizations or agencies in your field of interest. If you want to meet a police officer, call the police station and ask if someone could talk to a journalist – many people are tempted if you promise them a feature article.

8. Talk to experts

Once you get a contact for an expert, do your best to make the expert look as good as possible. The more prominent the expert, the better your text. Make a list of questions in advance and compare it with the outline to make sure you don’t forget anything. Remember to accurately describe your expert’s achievements and personal data.

9. Create a memorable title

This step can occur at any point in the process of writing an article for a magazine. Sometimes the whole article starts with a good title! However, there is nothing wrong with waiting until the article is finished before coming up with a title. The most important thing is that the title is catchy – editors-in-chief love that!

10. To write, you have to read

You never know where you will come across an inspiring text. It’s your duty as a good writer to read everything that falls into your hands, whether it’s articles on the front pages of major publications or small blog posts. Learn about the various issues that may be useful to your magazine writing skills.

11. Add a strong ending

End with a strong concluding remark that informs or elaborates on the theme of your piece. The last paragraph should make the reader satisfied, but also curious about the future progress of the issue. He must wonder “what’s next?” and answer the important questions himself.

12. Don’t give up

Writers are rejected hundreds of times, especially when they are initially learning how to create articles for magazines. However, even a seasoned freelance writer and professional journalist can get rejected. The most successful authors simply keep writing – being rejected is part of magazine writing. Freelance writing is a good school of writing career – including coping with rejection.

Now you know how to write a magazine article that will be engaging and interesting. Despite the digitalization of the market, writing magazine articles still offers many possibilities to a freelance writer or a seasoned professional. The market of press and magazines is evolving fast, but the basic principles of journalistic integrity stay the same!

You may be also interested in:

How To Publish Digital Magazine? How to Make a Magazine Cover With a Template? 5 Reasons to Start Using a Magazine Maker

Jakub Osiejewski is an experienced freelance writer and editor. He has written for various publications, including magazines, newspapers and websites. He is also a skilled layout graphic designer and knows exactly how to create visually appealing and informative PDFs and flipbooks!

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Why Did This Guy Put a Song About Me on Spotify?

The answer involves a remarkable — and lucrative, and ridiculous — scheme to game the way we find music today.

Matt Farley has released thousands of songs with the goal of producing a result to match nearly anything anybody could think to search for. Credit... Chris Buck for The New York Times

Supported by

By Brett Martin

Brett Martin is a contributing writer for the magazine. For this story, he traveled to Massachusetts to meet the writer of the song “Brett Martin, You a Nice Man, Yes.”

• Published March 31, 2024 Updated April 1, 2024

I don’t want to make this all about me, but have you heard the song “Brett Martin, You a Nice Man, Yes” ?

I guess probably not. On Spotify, “Brett Martin, You a Nice Man, Yes” has not yet accumulated enough streams to even register a tally, despite an excessive number of plays in at least one household that I can personally confirm. Even I, the titular Nice Man, didn’t hear the 1 minute 14 second song until last summer, a full 11 years after it was uploaded by an artist credited as Papa Razzi and the Photogs. I like to think this is because of a heroic lack of vanity, though it may just be evidence of very poor search skills.

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When I did stumble on “Brett Martin, You a Nice Man, Yes,” I naturally assumed it was about a different, more famous Brett Martin: perhaps Brett Martin, the left-handed reliever who until recently played for the Texas Rangers; or Brett Martin, the legendary Australian squash player; or even Clara Brett Martin, the Canadian who in 1897 became the British Empire’s first female lawyer. Only when the singer began referencing details of stories that I made for public radio’s “This American Life” almost 20 years ago did I realize it actually was about me. The song ended, “I really like you/Will you be my friend?/Will you call me on the phone?” Then it gave a phone number, with a New Hampshire area code.

So, I called.

It’s possible that I dialed with outsize expectations. The author of this song, whoever he was, had been waiting 11 long years as his message in a bottle bobbed on the digital seas. Now, at long last, here I was! I spent serious time thinking about how to open the conversation, settling on what I imagined was something simple but iconic, on the order of “Dr. Livingstone, I presume.” After one ring, a male voice answered.

I said: “This is Brett Martin. I’m sorry it’s taken me so long to call.”

The man had no idea who I was.

“You have to understand,” he said, apologetically. “I’ve written over 24,000 songs. I wrote 50 songs yesterday.”

And thus was I ushered into the strange universe of Matt Farley.

Farley is 45 and lives with his wife, two sons and a cockapoo named Pippi in Danvers, Mass., on the North Shore. For the past 20 years, he has been releasing album after album of songs with the object of producing a result to match nearly anything anybody could think to search for. These include hundreds of songs name-checking celebrities from the very famous to the much less so. He doesn’t give out his phone number in all of them, but he does spread it around enough that he gets several calls or texts a week. Perhaps sensing my deflation, he assured me that very few came from the actual subject of a song. He told me the director Dennis Dugan (of “Dennis Dugan, I Like Your Movies Very A Lot,” part of an 83-song album about movie directors) called once, but he didn’t realize who it was until too late, and the conversation was awkward.

Freed from the blinding incandescence of my own name, I could suddenly see the extent of what I had stumbled into. It was like the scene in a thriller when the detective first gazes on the wall of a serial killer’s lair. Papa Razzi and the Photogs is only one of about 80 pseudonyms Farley uses to release his music. As the Hungry Food Band, he sings songs about foods. As the Guy Who Sings Songs About Cities & Towns, he sings the atlas. He has 600 songs inviting different-named girls to the prom and 500 that are marriage proposals. He has an album of very specific apologies; albums devoted to sports teams in every city that has a sports team; hundreds of songs about animals, and jobs, and weather, and furniture, and one band that is simply called the Guy Who Sings Your Name Over and Over.

He also has many, many songs about going to the bathroom. If you have a child under 10 with access to the internet, it is very likely you know some part of this body of work. What he refers to collectively as his “poop songs” are mostly released under two names: the Toilet Bowl Cleaners and the Odd Man Who Sings About Poop, Puke and Pee.

“The Odd Man is more shameless,” he explained. “The Toilet Bowl Cleaners are making statements with their albums,” though the distinction between the former’s “Butt Cheeks Butt Cheeks Butt Cheeks!” and the latter’s “I Need a Lot of Toilet Paper to Clean the Poop in My Butt” may be subtler than he imagines.

Largely, though not entirely, on the strength of such songs, Farley has managed to achieve that most elusive of goals: a decent living creating music. In 2008, his search-engine optimization project took in $3,000; four years later, it had grown to $24,000. The introduction of Alexa and her voice-activated sistren opened up the theretofore underserved nontyping market, in particular the kind fond of shouting things like “Poop in my fingernails!” at the computer. “Poop in My Fingernails,” by the Toilet Bowl Cleaners, currently has over 4.4 million streams on Spotify alone. To date, that “band,” and the Odd Man Who Sings About Poop, Puke and Pee, have collectively brought in approximately $469,000 from various platforms. They are by far Farley’s biggest earners, but not the only ones: Papa Razzi and the Photogs has earned $41,000; the Best Birthday Song Band Ever, $38,000; the Guy Who Sings Your Name Over and Over, $80,000. Dozens of others have taken in two, three or four digits: the New Orleans Sports Band, the Chicago Sports Band, the Singing Film Critic, the Great Weather Song Person, the Paranormal Song Warrior, the Motern Media Holiday Singers, who perform 70 versions of “We Wish You a Merry Christmas,” substituting contemporary foods for figgy pudding. It adds up. Farley quit his day job in 2017.

“People like to criticize the whole streaming thing, but there’s really a lot of pros to it,” he said. Indeed, in 2023, his music earned him just shy of $200,000, about one halfpenny at a time.

‘If you reject your own ideas, then the part of the brain that comes up with ideas is going to stop. You just do it and do it and do it, and you sort it out later.’

Farley’s earnings help fund his multiple other creative endeavors. He records what he calls his “no jokes” music. This includes a two-man band he’s been in since college called Moes Haven, which once recorded an album a day for a year. He hosts two podcasts, one about his work and the other recapping Celtics games. And he makes movies: microbudgeted, determinedly amateur but nevertheless recognizably cinematic features starring himself and his family and friends. (They feature a spectacular array of New England accents.) In most, Farley plays some version of himself, a mild-mannered, eccentric hero projecting varying degrees of menace. Farley and his college friend Charlie Roxburgh are in the midst of a project in which they have resolved to release two full movies per year. The model, Farley said, was inspired by Hallmark Movies: “If this movie stinks, good news, we’re making another in six months!” Their most popular work remains “Don’t Let the Riverbeast Get You!” (2012), a charmingly shaggy tale of a cryptid threatening a small New England town. It features Farley’s father as a big-game hunter named Ito Hootkins.

Like many of Farley’s endeavors, his films have attracted a small but intense following. “I could fill a 5,000-seat arena, if I could only get everybody in one place,” he says. His is the kind of obsessive project that seems to inspire the same from others. A few years ago, Leor Galil, a Chicago music writer, set out to listen to Farley’s entire corpus, from start to finish, chronicling the journey in a zine titled Freaky 4 Farley. Four pages into Issue 1, he had already taken on the grim tone of an Arctic explorer. “I’ve become a little tired of the album 25 songs in,” he wrote, “which makes me concerned about my ability to get through the rest of this listening quest.” Issue 2 begins, “I failed.”

The umbrella name that Farley uses for all his outputs is Motern. He made the word up; or rather, he seized on what he felt was its strange power after misspelling the word “intern” in what he had planned to be a 10,000-page novel. To Farley, creativity has always been a volume business. That, in fact, is the gist of “The Motern Method,” a 136-page manifesto on creativity that he self-published in 2021. His theory is that every idea, no matter its apparent value, must be honored and completed. An idea thwarted is an insult to the muse and is punished accordingly.

“If you reject your own ideas, then the part of the brain that comes up with ideas is going to stop,” he said. “You just do it and do it and do it, and you sort it out later.” Or, as the case may be, you don’t, but rather send it all out into the abyss, hoping that someday, somebody, somewhere will hear it.

I was aware, of course, that on some level I’d been had, the one tiny fish vain enough to be snared in Farley’s trawl. It left me a bit paranoid. “Charlie Roxburgh” suddenly seemed like such a perfect Boston pseudonym that I spent a day investigating whether he was a real person. (He’s real, lives in Connecticut and makes corporate videos for his day job.) I lost another day chasing after a Letterboxd commenter who goes by the handle dcs577 and was so baffled by the popularity of Farley’s movies that he published his own short e-book, “The Not Motern Method.” It urges readers to give up on their artistic dreams, and even mimics Farley’s buckshot S.E.O., by appearing in multiple, slightly different versions. Surely he had to be a Farley alter ego. (Nope: a 36-year-old movie buff in Missouri.)

Mostly I was trying to figure out whether I thought Farley was a bad guy. Did his scheme represent the inevitable cynical end product of a culture in the grips of algorithmic platforms? Or might it be a delightful side effect? Was his work spam or a kind of outsider art? Was he just the Poop Song Guy, or was he closer to Steve Keene, the Brooklyn-based, Gen-X-hipster-approved painter of over 300,000 works who has been the subject of books and museum retrospectives? As it happens, Farley has a song about Steve Keene. It’s on a Papa Razzi album titled “I Am Not Wasting My Life,” which suggested he was asking some of the same questions.

When I went to Danvers to meet Farley in December, it became quickly apparent that he is the most transparent person in the world. He’s got a thick head of hair, high cheekbones and a friendly, Kyle Chandler-like face that another Letterboxd reviewer correctly identified as “youth-pastory.” When he picked me up at my hotel, he was wearing a fleece-lined brown hoodie that, judging by social media, is the only outer layer he wears throughout the New England winter — including on the 15-to-20 mile walks he takes twice a week. He struck me as the kind of guy who wears shorts the moment it gets above 48 degrees. Compulsively early, he confessed that he arrived at the lobby an hour before we were scheduled to meet.

You might mistake Motern’s aesthetic for stoner humor, but Farley says he has never had a sip of alcohol, much less done drugs. By his own description, he eats like a picky 12-year-old. When I made him take me to a restaurant in Salem called Dube’s Seafood, famed for its belly clams, he ordered chicken nuggets and buried them beneath a blizzard of salt and ground pepper, removing the top of the pepper shaker to pour it on more directly. In the car we listened to the Rolling Stones, the Replacements, Tom Waits. “It’s a mammoth accomplishment of self-control for me not to be playing my own music right now,” he said, though his efforts at restraint were puzzling, given that I was in all likelihood the one person on Earth at that moment whose job was to listen to it.

All of Farley’s life he has wanted to make things and have people see and hear them. After going to school at Providence College, he moved to Manchester, N.H., specifically because he knew nobody there who might distract him. “If you know people, they want you to go to cookouts,” he says. “I designed my entire life to not have to go to cookouts.” Even now, he cannot abide downtime; to him, the wasted time of a party or watching a football game is measured in songs or scripts he could have written. At no point did Farley consider a more conventional route such as film school or a low-level job in the entertainment industry. Instead, he took a job at a group home for teenagers, knocking out a 40-hour week in three days so that he could work on music and movies the other four. He would leave Moes Haven CDs in public places across Manchester, hoping somebody would pick them up; he slipped them into the stacks at local record stores, like a reverse shoplifter. He would drive people to the airport just so he could force his music on them on the way.

Farley’s persona is simultaneously grandiose — “I really do think I’m the greatest songwriter of the 21st Century,” he told me — and knowingly self-effacing. One night, I went with him to a tiny independent theater in Lexington for a screening of the Motern film “Magic Spot,” a time-travel comedy. On the drive down, I asked what the endgame for the movies was. Obviously, they have a very different business model from his music. What if somebody gave him, say, a million dollars to make his next movie? He thought for a second.

“Three-hundred-thousand for me and Charlie, spread the rest around to the people who have helped us all these years, make a $10,000 movie and get sued,” he said. (That would be about twice the budget of a typical Motern joint.)

“Magic Spot” wasn’t on the marquee when we pulled up, but there was a flier taped to the door. “We couldn’t afford color copies, but we did our best,” the theater owner said as he let us in. There were 11 people in the audience, including Farley’s father and brother-in-law, both of whom were in the movie. There was also a film student named Taylor, who had driven up from the Cape and would end up seeing three Motern screenings within a month, and two guys down from Manchester, one of whom was turning the other on to the Farley canon. A few minutes into the movie, the sound went out, and we sat for about 10 minutes while Farley frantically tried to fix it. He was on the verge of jury-rigging a solution involving holding a microphone to his laptop when the sound system miraculously healed itself.

“A huge success! I’m on cloud nine,” he said, as we headed back toward Danvers. After the show, he refused to accept his share of the ticket sales, instead pressing extra money into the owner’s hands as thanks.

For somebody so driven to find an audience and so immune to embarrassment, the advent of the digital age was a miracle. Farley began uploading the Moes Haven catalog to iTunes when it came out, and then to Spotify. As described in the closely autobiographical Motern film “Local Legends,” Moes Haven was intended to “meld the sounds of Bob Dylan, Van Morrison and Pink Floyd, into a musical concoction that was going to blow the minds of millions of fans all the way around the world.” As it turned out, Farley noticed that the only song that seemed to blow minds, or at least get downloaded, was a comic throwaway called “Shut Up Your Monkey.” (“Get down/Get funky/Shut up/Your monkey.”)

“Some people would have quit right there,” he says. “I saw an opportunity.”

Whatever the dubious value of any individual song in the Farley universe, it’s as part of the enormous body of the whole, the magnum opus, that it gains power.

A lot of energy has been spent trying to pick the lock of the recommendation algorithms that can make or break a song on Spotify and other streaming services. Any number of online courses, distributors and publishing companies promise to navigate the labyrinth of inputs — playlist inclusion, natural language processing, average length of listens, influencer attention, metrics like “acousticness,” “speechiness” and “danceability” — that will push a song onto millions of users’ recommended playlists. Critics, meanwhile, bemoan the rise of bands like Greta Van Fleet, an “algorithmic fever dream” according to Pitchfork, who seem to be engineered to be the Next Song after whatever it was you actually chose to listen to.

When I asked Farley how much of this he factors into his work, the answer was “almost zero.” He gets the sense that longer titles seem to work better than short ones and that around a minute and a half is a good minimum length. But for the most part, his is a blunt-force attack on the softer target of search results. At its most intentionally parasitic, this includes such tracks as “A Review of ‘Exile on Main Street’” designed to be discovered by the Rolling Stones-curious. A 2013 album credited to the Passionate & Objective Jokerfan takes advantage of the fact that song titles cannot be copyrighted. Thus, “This Girl Is On Fire (Quick, Grab a Fire Extinguisher!),” “(Almost) Instant Karma” and “Searching for Sugarman,” which, unlike the more famous “Sugar Man,” by Rodriguez, is about a baker whose sugar delivery is running late. Farley says he has since sworn off these kinds of tricks.

These days, he sets himself a relatively light goal of one 50-song album a month, recorded in a spare bedroom in his house. (Fifty tracks is the limit that CD Baby, which Farley uses to distribute and manage his music, allows, a regulation that may or may not have something to do with Farley, who used to put as many as 100 on an album.) Once he reaches his quota, he begins the tedious work of checking the levels of each song, entering titles and metadata (genre, writer, length, etc.), creating an album title and cover art (nearly always a selfie) and uploading the package one song at a time.

Farley showed me a worn, green spiral notebook in which he meticulously tracks his output and earnings. From Spotify, he earns roughly a third of a cent per stream; Amazon and Apple pay slightly more on average: between a third and three-quarters of a cent. TikTok, on the other hand, pays musicians by the number of videos featuring their songs and is thus immune to Farley’s strategy; when Kris and Kylie Jenner recorded a video of themselves dancing to Farley’s song about Kris, millions of people saw it, but Farley earned less than 1 cent.

Among other topics Farley told me he planned to tackle in future albums were: colleges, household items, tools, musical instruments. I had planned to ask what categories haven’t worked, but what had become clear by then is that the idea of any one song, or even album, hitting the jackpot isn’t the point. Even after Spotify’s recent announcement that it would no longer pay royalties on songs receiving fewer than a thousand streams, Farley’s business model rests on the sheer bulk of his output. And so does his artistic model. Whatever the dubious value of any individual song in the Farley universe, it’s as part of the enormous body of the whole, the magnum opus, that it gains power. This is especially true when you consider that an artificial intelligence could conceivably produce 24,000 songs, Farley’s entire oeuvre, in about a day, a fact that gives his defiantly human, even artisanal, labor a kind of lonely Sisyphean dignity. Whatever else Farley’s work is, it is not AI — even when it barely seems to be I.

A year or two ago, Farley discovered with some chagrin that he was no longer the No. 1 result for the search “poop song.” There was another Poop Song Guy.

His name is Teddy Casey, and amazingly, he is also from a Boston suburb, Newton. That’s where the similarities with Farley stop. Casey has precisely two songs available for streaming: a sweet kids’ song about animals called “Monkey,” and “The Poop Song,” which has over four million streams across various platforms.

Casey is 55; until recently he was working as a bartender and hosting open-mic nights near where he lives in midcoast Maine. When I reached him, he was back home after a week in New Hampshire, training to become a U.S. Postal Service letter carrier. He wrote his poop song around 2009, but he didn’t get around to posting it until 2020. “It didn’t do anything for months,” he said. “And then all of a sudden, one month it made $20. I was like, Wow, cool. Buy a case of beer.”

These days, the song brings in about $1,200 per month, enough to pay his rent, Casey told me, with what sounded like a Lebowskian shrug. “I have other songs that I want to put up,” he said. “But I kind of don’t want to sell out.”

I asked if he knew about the Toilet Bowl Cleaners, and he said he’d heard a few of their songs. “I’m not making this up,” he said. “There’s this other guy, I don’t know if you’ve heard of him, the Odd Man Who Sings About Poop, Puke and Pee. His idea was to customize every poop song. So there’s a Steven Poop song, a Bob Poop song, a Mary Poop song. He’s got hundreds!”

I told him that both bands were in fact the same person.

“Well, OK,” he said, as if realizing the full extent of what he was up against. “I like mine better, but I’m biased,” he said, finally. “You can tell he knows how to write songs, but I think he’s just been going for volume.”

In fact, I knew about the suite of songs that combine Farley’s two most successful genres — names and poop — because he was working on a new set of them when I visited him. He estimated that he had already completed about 3,000, but there were always new names.

“This can be kind of painful,” he warned, switching on his keyboard and firing up his laptop. He donned headphones, consulted a list of names and got to work. In the silence of the room, I could just hear the soft click of the keyboard and his vocals:

Jamilah, p-p-p-poop/Jamilah poop poop poop.

In “Local Legends,” which is something like Farley’s “All That Jazz,” there is a fantasy sequence in which Farley imagines the two sides of his personality arguing: one, the serious, heartfelt artist, the other a greasy record executive demanding ever more poop songs. Of course, the scene can only be a fantasy, and can only have Farley playing both characters, because the greasy record executive belongs to a lost world — one in which drastically fewer people had a chance to produce art and the work was often corrupted by corporate gatekeepers, but in which there was also a clearly marked road to an audience and a living. Farley represents both the best and worst of the incentives and opportunities that have taken this world’s place. Certainly, there are few creators working today in any medium who would not recognize the anxiety he embodies: that their work now lives or dies by the vagaries of opaque algorithms serving a bottomless menu of options to an increasingly distracted public. And that if they don’t bow to the demands of these new realities, their work — and by extension they — will simply disappear. Which is to say that while the experience of watching Farley work was not unpainful, as promised, neither was it totally unfamiliar.

After a minute and a half of “The Jamilah Poop Song,” Farley paused. He adjusted a few dials, consulted his notebook, thought for a few seconds and plowed on to the next song. Different tempo, different vocals, similar theme.

Tunka, Tunka , he sang. Poop, poop poop poop poop .

Brett Martin is the author of ‘‘Difficult Men: Behind the Scenes of a Creative Revolution’’ and a three-time James Beard Award winner. He most recently wrote about Las Vegas’s punk museum for the magazine. Chris Buck is a photographer and director. He was the first recipient of the Arnold Newman Portrait Prize.

An earlier version of this article referred incorrectly to Taylor, a film student who watched many screenings of Farley’s films. Taylor uses they and them pronouns, not he and him.

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How to Start an Editorial: Step-by-Step Guide

The “How to Start an Editorial: Step-by-Step Guide” provides a comprehensive roadmap for crafting persuasive editorials. It covers selecting a relevant topic, conducting research , creating a persuasive thesis, and organizing your thoughts.

Table of Contents

Learn how to start an editorial with a captivating introduction, build a strong case, and polish your work for publication. This guide will aid you in maneuvering through the process, ensuring your editorial resonates with readers and sparks meaningful conversation.

Understanding the Basics of How to Start an Editorial

Understanding the basics of how to start an editorial is essential. This skill helps anyone looking to craft a compelling piece that resonates with readers. An editorial, opinion journalism, presents the writer’s perspective on a specific topic or issue.

The goal of an editorial is not only to inform but also to persuade, engage, and potentially inspire action. To accomplish this, it is essential to comprehend how an editorial should be structured.

Crafting a Compelling Editoria

A well-structured editorial typically consists of four key components: the introduction, the thesis, the body, and the conclusion. Each element plays a vital role in communicating your ideas effectively and persuasively.

Introduction: This is where you grab your reader’s attention and pique their interest in the topic. Start with a strong hook, such as a surprising fact, a thought-provoking question, or an engaging anecdote. This technique entices readers to continue reading.

Thesis: The thesis is a concise statement of your central argument or opinion. It sets the tone for your editorial and serves as a roadmap for the points you’ll cover throughout the piece.

Body: The body of your editorial is in which you showcase your arguments, evidence, and examination to bolster your thesis. Organize your points logically and coherently, ensuring each paragraph focuses on a single idea or argument. Use concrete examples, facts, and expert opinions to strengthen your case and convince your readers.

Conclusion: In the conclusion, reiterate your thesis and summarize the main points you’ve made in the body. End with a strong closing statement that either calls for action, offers a solution, or poses a thought-stimulating query. This approach helps create a lasting impact on your readers.

By understanding the basic structure of an editorial, you’ll be better equipped to craft a persuasive and engaging piece. Keep these essential components in mind as you embark on your editorial writing journey, and you’ll be well on the path to crafting a compelling and thought-provoking editorial.

How to Start an Editorial: Brainstorming Ideas

When embarking on the journey of writing an editorial, one of the first steps is brainstorming ideas for a compelling and relevant topic. The subject matter should be exciting and provide value to your readers, sparking meaningful conversations and potentially inspiring change. As you brainstorm ideas, consider how to write an editorial title that accurately reflects the content and seizes the interest of your intended audience.

To generate topic ideas, focus on current events, trending issues, or subjects directly impacting your community. Consider the opinions, concerns, and debates surrounding these topics, as they can serve as a rich source of inspiration for your editorial. Make a list of potential subjects , then evaluate each based on relevance, timeliness, and potential impact on readers.

Once you’ve chosen a topic, start thinking about an engaging title that accurately reflects the essence of your editorial. A well-crafted title should be concise, clear, and thought-provoking, enticing readers to explore your piece further. Consider using powerful words, phrases, or questions that evoke emotion or provoke curiosity. Additionally, incorporating keywords related to your topic can help your editorial reach a wider audience through search engines and social media platforms.

As you finalize your title, ensure it aligns with your editorial’s central thesis and overall tone. It’s essential to strike a balance between capturing attention and accurately representing the content within your piece. If your title needs to be more accurate and sensationalized, you risk losing credibility with your readers.

Brainstorming ideas for an editorial involves identifying compelling topics, evaluating their relevance and impact, and crafting a captivating title that precisely represents the substance of your piece. By adhering to these steps, you can develop a robust foundation for your editorial, ensuring it resonates with readers and sparks meaningful conversations.

How to Start an Editorial: Conducting Research

When learning how to start an editorial writing, conducting thorough research is a critical step. Regardless of your chosen topic, gathering accurate information and understanding different perspectives are essential for crafting a well-informed and persuasive editorial . This will enable you to present a strong case for your viewpoint and build credibility with your readers.

Begin your research by identifying reputable sources of information, such as newspapers, academic journals, books, government reports, and expert opinions. These sources can provide valuable insights, facts, and data to support your arguments. Be sure to critically evaluate each source for accuracy, relevance, and credibility, as this will help you build a solid foundation for your editorial.

As you collect information, make note of opposing viewpoints and counterarguments. Addressing these in your editorial demonstrates your understanding of the topic ‘s complexity and showcases your ability to engage in a balanced and thoughtful discussion. This will make your arguments more persuasive and help you establish trust with your readers.

During the research process, you must remain open-minded and willing to adapt your initial ideas or thesis based on the evidence you encounter. This flexibility will lead to a more nuanced and well-rounded editorial.

Organize your research findings clearly and logically, grouping related ideas and evidence together. This will help you identify patterns and connections that can inform the structure of your editorial and enhance the flow of your arguments.

In summary, conducting research is vital to starting an editorial writing process. By gathering accurate information, understanding different perspectives, and organizing your findings, you can build a strong foundation for a persuasive and well-informed editorial that engages and informs your readers.

How to Start an Editorial: Crafting a Clear and Compelling Argument

Understanding how to start an editorial article involves mastering the art of crafting a clear and compelling argument. A persuasive editorial hinges on presenting a solid case for your viewpoint backed by evidence, logic, and an engaging writing style. Following these guidelines allows you to develop an argument that resonates with readers and effectively communicates your perspective.

Mastering the Art of Persuasion

Develop a clear thesis: Your thesis is your editorial’s central idea or argument. It should be a concise and specific statement that reflects your opinion on the topic. Be sure to state your thesis early in your editorial, preferably in the introduction, to set the stage for your argument.

Provide compelling evidence: Support your thesis with well-researched facts, statistics, and expert opinions. Use a variety of credible sources to present a diverse range of evidence that bolsters your argument. Remember to cite your sources to maintain transparency and credibility.

Address counterarguments: Acknowledging opposing viewpoints and addressing counterarguments demonstrates a comprehensive understanding of the topic and strengthens your position. You can further reinforce your argument by debunking or refuting these counterarguments.

Use persuasive language: The language you use in your editorial plays a significant role in swaying your readers. Employ persuasive techniques such as rhetorical questions, anecdotes, and analogies to engage your audience and make your argument more relatable and convincing.

Organize your thoughts logically: Ensure that your argument follows a coherent and orderly framework, with each paragraph concentrating on a singular point or piece of evidence. This will help readers follow your reasoning and make your editorial more coherent and persuasive.

Revise and edit: After writing your initial draft, take the time to revise and edit your editorial. Make certain that your argument is lucid, succinct, and well-supported and that your writing is free of errors and inconsistencies.

When learning how to start an editorial article, crafting a clear and compelling argument is essential. By developing a solid thesis, providing convincing evidence, addressing counterarguments, using persuasive language, and organizing your thoughts logically, you can create a persuasive editorial that engages readers and effectively communicates your viewpoint.

How to Start an Editorial: Structuring Your Editorial

Learning how to write an editorial page requires a solid understanding of the editorial structure, which is crucial in presenting your ideas coherently and persuasively. A well-structured editorial ensures readers can easily follow your reasoning and engage with your argument.

Structuring for Impactful Communication

Here are some essential steps to adhere to when structuring your editorial:

Introduction: Begin your editorial with a captivating introduction that hooks your readers and provides context for your topic. Use a thought-provoking question, an intriguing anecdote, or a surprising fact to grab their attention. Additionally, introduce your thesis statement, which outlines your central argument and sets the stage for the rest of your editorial.

Body Paragraphs: The body of your editorial should be organized into a series of paragraphs, each focusing on a single point or piece of evidence that supports your thesis. Use clear topic sentences to convey the main idea of each paragraph and maintain a logical flow throughout your editorial . Be sure to provide well-researched facts, statistics, and expert opinions to support your claims and address any counterarguments to strengthen your position.

Transition Sentences: Utilize transition sentences between paragraphs to create a smooth flow and maintain continuity in your argument. This will help guide your readers through your editorial and enhance its readability.

Conclusion: Conclude your editorial by summarizing your main points and restating your thesis in a fresh, compelling manner. The conclusion should create a long-lasting impact on your readers by offering a solution, urging action, or posing a thought-provoking question.

Editing and Proofreading: After completing your initial draft, carefully review your editorial for clarity, coherence, and accuracy. Check for grammatical errors, inconsistencies, and redundancies, and refine your language and style to ensure your argument is presented effectively.

By following these steps, you can structure your editorial to effectively communicate your ideas and persuade your readers. Mastering the art of structuring your editorial page is essential in producing an engaging and thought-provoking piece that encourages meaningful dialogue and inspires action.

How to Start an Editorial: Writing a Strong Opening Paragraph

Understanding how to start an editorial letter begins with crafting a solid opening paragraph that captures your reader’s focus and establishes the foundation for your argument. The introduction is a crucial component of your editorial, as it sets the tone and determines whether readers will be engaged enough to continue reading.

Strategies for Captivating Your Audience

Below are some pointers for producing a persuasive opening paragraph:

Use a Captivating Hook: Begin your editorial with a hook that immediately grabs your readers’ interest. his could encompass an astonishing fact, a thought-provoking inquiry, or an emotional anecdote relevant to your topic. A robust hook will pique your audience’s curiosity and encourage them to read further.

Provide Context: After capturing your reader’s attention, provide background information and context about your topic. This will aid your audience in comprehending the importance and relevance of the issue you are addressing. Be concise and avoid overwhelming your readers with too much information at the outset.

State your Thesis: Your thesis statement should be introduced early in your editorial, preferably within the opening paragraph. This statement should clearly articulate your central argument or opinion on the topic. A well-crafted thesis will serve as a roadmap for your readers, guiding them through your editorial and shaping their expectations.

Establish Your Credibility: Briefly highlights your expertise, experience, or other factors qualifying you to write about the topic. Establishing credibility from the outset will help your readers trust your perspective and be more open to your argument.

Engage Your Readers: Use a conversational tone to address your readers directly to create connection and engagement. This will help make your editorial more relatable and accessible, encouraging readers to continue reading and consider your viewpoint.

Writing a solid opening paragraph is essential when learning how to start an editorial letter. Using a captivating hook, providing context, stating your thesis, establishing your credibility, and engaging your readers, you can create an introduction that sets the stage for a persuasive and compelling editorial.

How to Start an Editorial: Adding Supporting Evidence

When learning how to write an editor’s note for a magazine, adding supporting evidence to your editorial is crucial in establishing credibility and persuading your readers. A well-researched and evidence-backed editorial will strengthen your argument and demonstrate your commitment to presenting a balanced and informed perspective.

Enhancing Your Editorial with Supporting Evidence

Here are some tips for incorporating supporting evidence into your editorial:

Use Various Sources: To create a robust argument, gather evidence from multiple reputable sources, such as academic journals, newspapers, government reports, and expert opinions. This will help ensure your editorial is well-rounded and credible, showcasing diverse perspectives and information.

Cite Your Sources: Be transparent about the origins of your evidence by citing your sources. This demonstrates your commitment to accuracy and allows your readers to verify your claims and explore the topic further.

Integrate Evidence Seamlessly: Incorporate your supporting evidence into your editorial naturally and unobtrusively. Employ unambiguous and succinct terminology to articulate your facts, statistics, and expert opinions, ensuring they support and enhance your argument without overwhelming your readers.

Address Counterarguments: Including evidence that addresses counterarguments or opposing viewpoints is essential in creating a balanced and persuasive editorial . By acknowledging and responding to these perspectives, you demonstrate your understanding of the topic’s complexity and further solidify your own argument.

Connect Evidence to Your Thesis: Ensure that each piece of evidence you present directly supports your thesis statement. This will help your readers understand the relevance of your evidence and follow your line of reasoning more easily.

Use Evidence Strategically: Be selective in the evidence you present, focusing on the most compelling and convincing information that supports your argument. Avoid overloading your editorial with excessive details, which may detract from your central message.

Adding supporting evidence is critical to writing an editor’s note for a magazine. By using various sources, citing your evidence, integrating it seamlessly, addressing counterarguments, and connecting your evidence to your thesis, you can create a persuasive and well-informed editorial that effectively communicates your viewpoint and resonates with your readers.

How to Start an Editorial: Wrapping Up with a Powerful Conclusion

Knowing how to write an editorial for a magazine involves mastering the art of crafting a powerful conclusion that leaves a lasting impression on your readers. The conclusion of your editorial should not only sum up your key arguments and restate your thesis but also provide a sense of closure and inspire further thought or action.

Strategies for Leaving a Lasting Impression

Here are some guidelines for crafting a compelling conclusion:

Reiterate Your Central Argument or Position: Begin your conclusion by restating your thesis statement freshly and engagingly. This will remind your readers of your central argument and reinforce the main message of your editorial.

Summarize Your Main Points: Briefly recaps your editorial’s key points and supporting evidence. This will help your readers remember your most compelling arguments and tie your ideas together cohesively.

Offer a Solution or Recommendation: If appropriate, present a solution or recommendation that addresses the issue or problem discussed in your editorial. This can demonstrate your commitment to positive change and encourage your readers to consider potential solutions.

Call-to-action: Urge your readers to take action or further think or discuss the topic. A solid call to action can inspire your audience to make a difference or explore the issue more deeply.

End with a Memorable Statement or Question: Conclude your editorial with a thought-provoking statement or question that leaves a lasting impression on your readers. This will encourage them to reflect on your argument and consider the broader implications of your editorial.

Maintain Your Tone: Ensure that the tone of your conclusion is consistent with the rest of your editorial. A cohesive tone will help create a sense of unity and polish in your writing.

Wrapping up your editorial with a powerful conclusion is essential in crafting a persuasive and engaging piece. By restating your thesis, summarizing your main points, offering a solution, calling for action, and ending with a memorable statement, you can leave a lasting impression on your readers and encourage them to engage with your ideas long after they have finished reading your magazine editorial.

What should I focus on when brainstorming ideas for an editorial?

Concentrate on current events, trending issues, or subjects that impact your community. Consider opinions, concerns, and debates surrounding these topics for inspiration. Evaluate each idea based on relevance, timeliness, and potential impact on readers.

How can I ensure my research is credible and accurate?

Use reputable sources of information, such as newspapers, academic journals, books, government reports, and expert opinions. Critically evaluate each source for accuracy, relevance, and credibility to build a solid foundation for your editorial.

What should I include in my editorial’s opening paragraph?

Use a captivating hook, provide context, state your thesis, establish credibility, and engage your readers to create a strong and engaging introduction.

What are some tips for writing a powerful conclusion?

Restate your thesis, summarize your main points, offer a solution or recommendation, call to action, end with a memorable statement or question, and maintain your tone to create a compelling and lasting conclusion.

How can I make sure my editorial is well-structured?

Organize your editorial into an introduction, body paragraphs, and conclusion, using clear topic and transition sentences to maintain a logical flow. Ensure that each paragraph focuses on a single point or piece of evidence and that your argument is coherent and persuasive.

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The War at Stanford

I didn’t know that college would be a factory of unreason.

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ne of the section leaders for my computer-science class, Hamza El Boudali, believes that President Joe Biden should be killed. “I’m not calling for a civilian to do it, but I think a military should,” the 23-year-old Stanford University student told a small group of protesters last month. “I’d be happy if Biden was dead.” He thinks that Stanford is complicit in what he calls the genocide of Palestinians, and that Biden is not only complicit but responsible for it. “I’m not calling for a vigilante to do it,” he later clarified, “but I’m saying he is guilty of mass murder and should be treated in the same way that a terrorist with darker skin would be (and we all know terrorists with dark skin are typically bombed and drone striked by American planes).” El Boudali has also said that he believes that Hamas’s October 7 attack was a justifiable act of resistance, and that he would actually prefer Hamas rule America in place of its current government (though he clarified later that he “doesn’t mean Hamas is perfect”). When you ask him what his cause is, he answers: “Peace.”

I switched to a different computer-science section.

Israel is 7,500 miles away from Stanford’s campus, where I am a sophomore. But the Hamas invasion and the Israeli counterinvasion have fractured my university, a place typically less focused on geopolitics than on venture-capital funding for the latest dorm-based tech start-up. Few students would call for Biden’s head—I think—but many of the same young people who say they want peace in Gaza don’t seem to realize that they are in fact advocating for violence. Extremism has swept through classrooms and dorms, and it is becoming normal for students to be harassed and intimidated for their faith, heritage, or appearance—they have been called perpetrators of genocide for wearing kippahs, and accused of supporting terrorism for wearing keffiyehs. The extremism and anti-Semitism at Ivy League universities on the East Coast have attracted so much media and congressional attention that two Ivy presidents have lost their jobs. But few people seem to have noticed the culture war that has taken over our California campus.

For four months, two rival groups of protesters, separated by a narrow bike path, faced off on Stanford’s palm-covered grounds. The “Sit-In to Stop Genocide” encampment was erected by students in mid-October, even before Israeli troops had crossed into Gaza, to demand that the university divest from Israel and condemn its behavior. Posters were hung equating Hamas with Ukraine and Nelson Mandela. Across from the sit-in, a rival group of pro-Israel students eventually set up the “Blue and White Tent” to provide, as one activist put it, a “safe space” to “be a proud Jew on campus.” Soon it became the center of its own cluster of tents, with photos of Hamas’s victims sitting opposite the rubble-ridden images of Gaza and a long (and incomplete) list of the names of slain Palestinians displayed by the students at the sit-in.

Some days the dueling encampments would host only a few people each, but on a sunny weekday afternoon, there could be dozens. Most of the time, the groups tolerated each other. But not always. Students on both sides were reportedly spit on and yelled at, and had their belongings destroyed. (The perpetrators in many cases seemed to be adults who weren’t affiliated with Stanford, a security guard told me.) The university put in place round-the-clock security, but when something actually happened, no one quite knew what to do.

Conor Friedersdorf: How October 7 changed America’s free speech culture

Stanford has a policy barring overnight camping, but for months didn’t enforce it, “out of a desire to support the peaceful expression of free speech in the ways that students choose to exercise that expression”—and, the administration told alumni, because the university feared that confronting the students would only make the conflict worse. When the school finally said the tents had to go last month, enormous protests against the university administration, and against Israel, followed.

“We don’t want no two states! We want all of ’48!” students chanted, a slogan advocating that Israel be dismantled and replaced by a single Arab nation. Palestinian flags flew alongside bright “Welcome!” banners left over from new-student orientation. A young woman gave a speech that seemed to capture the sense of urgency and power that so many students here feel. “We are Stanford University!” she shouted. “We control things!”

“W e’ve had protests in the past,” Richard Saller, the university’s interim president, told me in November—about the environment, and apartheid, and Vietnam. But they didn’t pit “students against each other” the way that this conflict has.

I’ve spoken with Saller, a scholar of Roman history, a few times over the past six months in my capacity as a student journalist. We first met in September, a few weeks into his tenure. His predecessor, Marc Tessier-Lavigne, had resigned as president after my reporting for The Stanford Daily exposed misconduct in his academic research. (Tessier-Lavigne had failed to retract papers with faked data over the course of 20 years. In his resignation statement , he denied allegations of fraud and misconduct; a Stanford investigation determined that he had not personally manipulated data or ordered any manipulation but that he had repeatedly “failed to decisively and forthrightly correct mistakes” from his lab.)

In that first conversation, Saller told me that everyone was “eager to move on” from the Tessier-Lavigne scandal. He was cheerful and upbeat. He knew he wasn’t staying in the job long; he hadn’t even bothered to move into the recently vacated presidential manor. In any case, campus, at that time, was serene. Then, a week later, came October 7.

The attack was as clear a litmus test as one could imagine for the Middle East conflict. Hamas insurgents raided homes and a music festival with the goal of slaughtering as many civilians as possible. Some victims were raped and mutilated, several independent investigations found. Hundreds of hostages were taken into Gaza and many have been tortured.

This, of course, was bad. Saying this was bad does not negate or marginalize the abuses and suffering Palestinians have experienced in Gaza and elsewhere. Everyone, of every ideology, should be able to say that this was bad. But much of this campus failed that simple test.

Two days after the deadliest massacre of Jews since the Holocaust, Stanford released milquetoast statements marking the “moment of intense emotion” and declaring “deep concern” over “the crisis in Israel and Palestine.” The official statements did not use the words Hamas or violence .

The absence of a clear institutional response led some teachers to take matters into their own hands. During a mandatory freshman seminar on October 10, a lecturer named Ameer Loggins tossed out his lesson plan to tell students that the actions of the Palestinian “military force” had been justified, that Israelis were colonizers, and that the Holocaust had been overemphasized, according to interviews I conducted with students in the class. Loggins then asked the Jewish students to identify themselves. He instructed one of them to “stand up, face the window, and he kind of kicked away his chair,” a witness told me. Loggins described this as an effort to demonstrate Israel’s treatment of Palestinians. (Loggins did not reply to a request for comment; a spokesperson for Stanford said that there were “different recollections of the details regarding what happened” in the class.)

“We’re only in our third week of college, and we’re afraid to be here,” three students in the class wrote in an email that night to administrators. “This isn’t what Stanford was supposed to be.” The class Loggins taught is called COLLEGE, short for “Civic, Liberal, and Global Education,” and it is billed as an effort to develop “the skills that empower and enable us to live together.”

Loggins was suspended from teaching duties and an investigation was opened; this angered pro-Palestine activists, who organized a petition that garnered more than 1,700 signatures contesting the suspension. A pamphlet from the petitioners argued that Loggins’s behavior had not been out of bounds.

The day after the class, Stanford put out a statement written by Saller and Jenny Martinez, the university provost, more forcefully condemning the Hamas attack. Immediately, this new statement generated backlash.

Pro-Palestine activists complained about it during an event held the same day, the first of several “teach-ins” about the conflict. Students gathered in one of Stanford’s dorms to “bear witness to the struggles of decolonization.” The grievances and pain shared by Palestinian students were real. They told of discrimination and violence, of frightened family members subjected to harsh conditions. But the most raucous reaction from the crowd was in response to a young woman who said, “You ask us, do we condemn Hamas? Fuck you!” She added that she was “so proud of my resistance.”

David Palumbo-Liu, a professor of comparative literature with a focus on postcolonial studies, also spoke at the teach-in, explaining to the crowd that “European settlers” had come to “replace” Palestine’s “native population.”

Palumbo-Liu is known as an intelligent and supportive professor, and is popular among students, who call him by his initials, DPL. I wanted to ask him about his involvement in the teach-in, so we met one day in a café a few hundred feet away from the tents. I asked if he could elaborate on what he’d said at the event about Palestine’s native population. He was happy to expand: This was “one of those discussions that could go on forever. Like, who is actually native? At what point does nativism lapse, right? Well, you haven’t been native for X number of years, so …” In the end, he said, “you have two people who both feel they have a claim to the land,” and “they have to live together. Both sides have to cede something.”

The struggle at Stanford, he told me, “is to find a way in which open discussions can be had that allow people to disagree.” It’s true that Stanford has utterly failed in its efforts to encourage productive dialogue. But I still found it hard to reconcile DPL’s words with his public statements on Israel, which he’d recently said on Facebook should be “the most hated nation in the world.” He also wrote: “When Zionists say they don’t feel ‘safe’ on campus, I’ve come to see that as they no longer feel immune to criticism of Israel.” He continued: “Well as the saying goes, get used to it.”

Z ionists, and indeed Jewish students of all political beliefs, have been given good reason to fear for their safety. They’ve been followed, harassed, and called derogatory racial epithets. At least one was told he was a “dirty Jew.” At least twice, mezuzahs have been ripped from students’ doors, and swastikas have been drawn in dorms. Arab and Muslim students also face alarming threats. The computer-science section leader, El Boudali, a pro-Palestine activist, told me he felt “safe personally,” but knew others who did not: “Some people have reported feeling like they’re followed, especially women who wear the hijab.”

In a remarkably short period of time, aggression and abuse have become commonplace, an accepted part of campus activism. In January, Jewish students organized an event dedicated to ameliorating anti-Semitism. It marked one of Saller’s first public appearances in the new year. Its topic seemed uncontroversial, and I thought it would generate little backlash.

Protests began before the panel discussion even started, with activists lining the stairs leading to the auditorium. During the event they drowned out the panelists, one of whom was Israel’s special envoy for combatting anti-Semitism, by demanding a cease-fire. After participants began cycling out into the dark, things got ugly.

Activists, their faces covered by keffiyehs or medical masks, confronted attendees. “Go back to Brooklyn!” a young woman shouted at Jewish students. One protester, who emerged as the leader of the group, said that she and her compatriots would “take all of your places and ensure Israel falls.” She told attendees to get “off our fucking campus” and launched into conspiracy theories about Jews being involved in “child trafficking.” As a rabbi tried to leave the event, protesters pursued him, chanting, “There is only one solution! Intifada revolution!”

At one point, some members of the group turned on a few Stanford employees, including another rabbi, an imam, and a chaplain, telling them, “We know your names and we know where you work.” The ringleader added: “And we’ll soon find out where you live.” The religious leaders formed a protective barrier in front of the Jewish students. The rabbi and the imam appeared to be crying.

S aller avoided the protest by leaving through another door. Early that morning, his private residence had been vandalized. Protesters frequently tell him he “can’t hide” and shout him down. “We charge you with genocide!” they chant, demanding that Stanford divest from Israel. (When asked whether Stanford actually invested in Israel, a spokesperson replied that, beyond small exposures from passive funds that track indexes such as the S&P 500, the university’s endowment “has no direct holdings in Israeli companies, or direct holdings in defense contractors.”)

When the university finally said the protest tents had to be removed, students responded by accusing Saller of suppressing their right to free speech. This is probably the last charge he expected to face. Saller once served as provost at the University of Chicago, which is known for holding itself to a position of strict institutional neutrality so that its students can freely explore ideas for themselves. Saller has a lifelong belief in First Amendment rights. But that conviction in impartial college governance does not align with Stanford’s behavior in recent years. Despite the fact that many students seemed largely uninterested in the headlines before this year, Stanford’s administrative leadership has often taken positions on political issues and events, such as the Paris climate conference and the murder of George Floyd. After Russia invaded Ukraine, Stanford’s Hoover Tower was lit up in blue and yellow, and the school released a statement in solidarity.

Thomas Chatterton Williams: Let the activists have their loathsome rallies

When we first met, a week before October 7, I asked Saller about this. Did Stanford have a moral duty to denounce the war in Ukraine, for example, or the ethnic cleansing of Uyghur Muslims in China? “On international political issues, no,” he said. “That’s not a responsibility for the university as a whole, as an institution.”

But when Saller tried to apply his convictions on neutrality for the first time as president, dozens of faculty members condemned the response, many pro-Israel alumni were outraged, donors had private discussions about pulling funding, and an Israeli university sent an open letter to Saller and Martinez saying, “Stanford’s administration has failed us.” The initial statement had tried to make clear that the school’s policy was not Israel-specific: It noted that the university would not take a position on the turmoil in Nagorno-Karabakh (where Armenians are undergoing ethnic cleansing) either. But the message didn’t get through.

Saller had to beat an awkward retreat or risk the exact sort of public humiliation that he, as caretaker president, had presumably been hired to avoid. He came up with a compromise that landed somewhere in the middle: an unequivocal condemnation of Hamas’s “intolerable atrocities” paired with a statement making clear that Stanford would commit to institutional neutrality going forward.

“The events in Israel and Gaza this week have affected and engaged large numbers of students on our campus in ways that many other events have not,” the statement read. “This is why we feel compelled to both address the impact of these events on our campus and to explain why our general policy of not issuing statements about news events not directly connected to campus has limited the breadth of our comments thus far, and why you should not expect frequent commentary from us in the future.”

I asked Saller why he had changed tack on Israel and not on Nagorno-Karabakh. “We don’t feel as if we should be making statements on every war crime and atrocity,” he told me. This felt like a statement in and of itself.

In making such decisions, Saller works closely with Martinez, Stanford’s provost. I happened to interview her, too, a few days before October 7, not long after she’d been appointed. When I asked about her hopes for the job, she said that a “priority is ensuring an environment in which free speech and academic freedom are preserved.”

We talked about the so-called Leonard Law—a provision unique to California that requires private universities to be governed by the same First Amendment protections as public ones. This restricts what Stanford can do in terms of penalizing speech, putting it in a stricter bind than Harvard, the University of Pennsylvania, or any of the other elite private institutions that have more latitude to set the standards for their campus (whether or not they have done so).

So I was surprised when, in December, the university announced that abstract calls for genocide “clearly violate Stanford’s Fundamental Standard, the code of conduct for all students at the university.” The statement was a response to the outrage following the congressional testimony of three university presidents—outrage that eventually led to the resignation of two of them, Harvard’s Claudine Gay and Penn’s Liz Magill. Gay and Magill, who had both previously held positions at Stanford, did not commit to punishing calls for the genocide of Jews.

Experts told me that Stanford’s policy is impossible to enforce—and Saller himself acknowledged as much in our March interview.

“Liz Magill is a good friend,” Saller told me, adding, “Having watched what happened at Harvard and Penn, it seemed prudent” to publicly state that Stanford rejected calls for genocide. But saying that those calls violate the code of conduct “is not the same thing as to say that we could actually punish it.”

Stanford’s leaders seem to be trying their best while adapting to the situation in real time. But the muddled messaging has created a policy of neutrality that does not feel neutral at all.

When we met back in November, I tried to get Saller to open up about his experience running an institution in turmoil. What’s it like to know that so many students seem to believe that he—a mild-mannered 71-year-old classicist who swing-dances with his anthropologist wife—is a warmonger? Saller was more candid than I expected—perhaps more candid than any prominent university president has been yet. We sat in the same conference room as we had in September. The weather hadn’t really changed. Yet I felt like I was sitting in front of a different person. He was hunched over and looked exhausted, and his voice broke when he talked about the loss of life in Gaza and Israel and “the fact that we’re caught up in it.” A capable administrator with decades of experience, Saller seemed almost at a loss. “It’s been a kind of roller coaster, to be honest.”

He said he hadn’t anticipated the deluge of the emails “blaming me for lack of moral courage.” Anything the university says seems bound to be wrong: “If I say that our position is that we grieve over the loss of innocent lives, that in itself will draw some hostile reactions.”

“I find that really difficult to navigate,” he said with a sigh.

By March, it seemed that his views had solidified. He said he knew he was “a target,” but he was not going to be pushed into issuing any more statements. The continuing crisis seems to have granted him new insight. “I am certain that whatever I say will not have any material effect on the war in Gaza.” It’s hard to argue with that.

P eople tend to blame the campus wars on two villains: dithering administrators and radical student activists. But colleges have always had dithering administrators and radical student activists. To my mind, it’s the average students who have changed.

Elite universities attract a certain kind of student: the overachieving striver who has won all the right accolades for all the right activities. Is it such a surprise that the kids who are trained in the constant pursuit of perfect scores think they have to look at the world like a series of multiple-choice questions, with clearly right or wrong answers? Or that they think they can gamify a political cause in the same way they ace a standardized test?

Everyone knows that the only reliable way to get into a school like Stanford is to be really good at looking really good. Now that they’re here, students know that one easy way to keep looking good is to side with the majority of protesters, and condemn Israel.

It’s not that there isn’t real anger and anxiety over what is happening in Gaza—there is, and justifiably so. I know that among the protesters are many people who are deeply connected to this issue. But they are not the majority. What really activates the crowds now seems less a principled devotion to Palestine or to pacifism than a desire for collective action, to fit in by embracing the fashionable cause of the moment—as if a centuries-old conflict in which both sides have stolen and killed could ever be a simple matter of right and wrong. In their haste to exhibit moral righteousness, many of the least informed protesters end up being the loudest and most uncompromising.

Today’s students grew up in the Trump era, in which violent rhetoric has become a normal part of political discourse and activism is as easy as reposting an infographic. Many young people have come to feel that being angry is enough to foment change. Furious at the world’s injustices and desperate for a simple way to express that fury, they don’t seem interested in any form of engagement more nuanced than backing a pure protagonist and denouncing an evil enemy. They don’t, always, seem that concerned with the truth.

At the protest last month to prevent the removal of the sit-in, an activist in a pink Women’s March “pussy hat” shouted that no rape was committed by Hamas on October 7. “There hasn’t been proof of these rape accusations,” a student told me in a separate conversation, criticizing the Blue and White Tent for spreading what he considered to be misinformation about sexual violence. (In March, a United Nations report found “reasonable grounds to believe that conflict-related sexual violence,” including “rape and gang rape,” occurred in multiple locations on October 7, as well as “clear and convincing information” on the “rape and sexualized torture” of hostages.) “The level of propaganda” surrounding Hamas, he told me, “is just unbelievable.”

The real story at Stanford is not about the malicious actors who endorse sexual assault and murder as forms of resistance, but about those who passively enable them because they believe their side can do no wrong. You don’t have to understand what you’re arguing for in order to argue for it. You don’t have to be able to name the river or the sea under discussion to chant “From the river to the sea.” This kind of obliviousness explains how one of my friends, a gay activist, can justify Hamas’s actions, even though it would have the two of us—an outspoken queer person and a Jewish reporter—killed in a heartbeat. A similar mentality can exist on the other side: I have heard students insist on the absolute righteousness of Israel yet seem uninterested in learning anything about what life is like in Gaza.

I’m familiar with the pull of achievement culture—after all, I’m a product of the same system. I fell in love with Stanford as a 7-year-old, lying on the floor of an East Coast library and picturing all the cool technology those West Coast geniuses were dreaming up. I cried when I was accepted; I spent the next few months scrolling through the course catalog, giddy with anticipation. I wanted to learn everything.

I learned more than I expected. Within my first week here, someone asked me: “Why are all Jews so rich?” In 2016, when Stanford’s undergraduate senate had debated a resolution against anti-Semitism, one of its members argued that the idea of “Jews controlling the media, economy, government, and other societal institutions” represented “a very valid discussion.” (He apologized, and the resolution passed.) In my dorm last year, a student discussed being Jewish and awoke the next day to swastikas and a portrait of Hitler affixed to his door.

David Frum: There is no right to bully and harass

I grew up secularly, with no strong affiliation to Jewish culture. When I found out as a teenager that some of my ancestors had hidden their identity from their children and that dozens of my relatives had died in the Holocaust (something no living member of my family had known), I felt the barest tremor of identity. After I saw so many people I know cheering after October 7, I felt something stronger stir. I know others have experienced something similar. Even a professor texted me to say that she felt Jewish in a way she never had before.

But my frustration with the conflict on campus has little to do with my own identity. Across the many conversations and hours of formal interviews I conducted for this article, I’ve encountered a persistent anti-intellectual streak. I’ve watched many of my classmates treat death so cavalierly that they can protest as a pregame to a party. Indeed, two parties at Stanford were reported to the university this fall for allegedly making people say “Fuck Israel” or “Free Palestine” to get in the door. A spokesperson for the university said it was “unable to confirm the facts of what occurred,” but that it had “met with students involved in both parties to make clear that Stanford’s nondiscrimination policy applies to parties.” As a friend emailed me not long ago: “A place that was supposed to be a sanctuary from such unreason has become a factory for it.”

Readers may be tempted to discount the conduct displayed at Stanford. After all, the thinking goes, these are privileged kids doing what they always do: embracing faux-radicalism in college before taking jobs in fintech or consulting. These students, some might say, aren’t representative of America.

And yet they are representative of something: of the conduct many of the most accomplished students in my generation have accepted as tolerable, and what that means for the future of our country. I admire activism. We need people willing to protest what they see as wrong and take on entrenched systems of repression. But we also need to read, learn, discuss, accept the existence of nuance, embrace diversity of thought, and hold our own allies to high standards. More than ever, we need universities to teach young people how to do all of this.

F or so long , Stanford’s physical standoff seemed intractable. Then, in early February, a storm swept in, and the natural world dictated its own conclusion.

Heavy rains flooded campus. For hours, the students battled to save their tents. The sit-in activists used sandbags and anything else they could find to hold back the water—at one point, David Palumbo-Liu, the professor, told me he stood in the lashing downpour to anchor one of the sit-in’s tents with his own body. When the storm hit, many of the Jewish activists had been attending a discussion on anti-Semitism. They raced back and struggled to salvage the Blue and White Tent, but it was too late—the wind had ripped it out of the ground.

The next day, the weary Jewish protesters returned to discover that their space had been taken.

A new collection of tents had been set up by El Boudali, the pro-Palestine activist, and a dozen friends. He said they were there to protest Islamophobia and to teach about Islam and jihad, and that they were a separate entity from the Sit-In to Stop Genocide, though I observed students cycling between the tents. Palestinian flags now flew from the bookstore to the quad.

Administrators told me they’d quickly informed El Boudali and his allies that the space had been reserved by the Jewish advocates, and offered to help move them to a different location. But the protesters told me they had no intention of going. (El Boudali later said that they did not take over the entire space, and would have been “happy to exist side by side, but they wanted to kick us off entirely from that lawn.”)

When it was clear that the area where they’d set up their tents would not be ceded back to the pro-Israel group willingly, Stanford changed course and decided to clear everyone out in one fell swoop. On February 8, school officials ordered all students to vacate the plaza overnight. The university was finally going to enforce its rule prohibiting people from sleeping outside on campus and requiring the removal of belongings from the plaza between 8 p.m. and 8 a.m. The order cited the danger posed by the storm as a justification for changing course and, probably hoping to avoid allegations of bias, described the decision as “viewpoint-neutral.”

That didn’t work.

About a week of protests, led by the sit-in organizers, followed. Chants were chanted. More demands for a “river to the sea” solution to the Israel problem were made. A friend boasted to me about her willingness to be arrested. Stanford sent a handful of staff members, who stood near balloons left over from an event earlier in the day. They were there, one of them told me, to “make students feel supported and safe.”

In the end, Saller and Martinez agreed to talk with the leaders of the sit-in about their demands to divest the university and condemn Israel, under the proviso that the activists comply with Stanford’s anti-camping guidelines “regardless of the outcome of discussions.” Eight days after they were first instructed to leave, 120 days after setting up camp, the sit-in protesters slept in their own beds. In defiance of the university’s instructions, they left behind their tents. But sometime in the very early hours of the morning, law-enforcement officers confiscated the structures. The area was cordoned off without any violence and the plaza filled once more with electric skateboards and farmers’ markets.

The conflict continues in its own way. Saller was just shouted down by protesters chanting “No peace on stolen land” at a Family Weekend event, and protesters later displayed an effigy of him covered in blood. Students still feel tense; Saller still seems worried. He told me that the university is planning to change all manner of things—residential-assistant training, new-student orientation, even the acceptance letters that students receive—in hopes of fostering a culture of greater tolerance. But no campus edict or panel discussion can address a problem that is so much bigger than our university.

At one rally last fall, a speaker expressed disillusionment about the power of “peaceful resistance” on college campuses. “What is there left to do but to take up arms?” The crowd cheered as he said Israel must be destroyed. But what would happen to its citizens? I’d prefer to believe that most protesters chanting “Palestine is Arab” and shouting that we must “smash the Zionist settler state” don’t actually think Jews should be killed en masse. But can one truly be so ignorant as to advocate widespread violence in the name of peace?

When the world is rendered in black-and-white—portrayed as a simple fight between colonizer and colonized—the answer is yes. Solutions, by this logic, are absolute: Israel or Palestine, nothing in between. Either you support liberation of the oppressed or you support genocide. Either Stanford is all good or all bad; all in favor of free speech or all authoritarian; all anti-Semitic or all Islamophobic.

At January’s anti-anti-Semitism event, I watched an exchange between a Jewish attendee and a protester from a few feet away. “Are you pro-Palestine?” the protester asked.

“Yes,” the attendee responded, and he went on to describe his disgust with the human-rights abuses Palestinians have faced for years.

“But are you a Zionist?”

“Then we are enemies.”

SITE SETTINGS

Novel Ideas A good clear out

A few months ago the LSO (Long Suffering One) and I downsized. Our new place is half the size of the old one and, as I filled yet another box with unwanted items for the charity shop, I realised decluttering is very similar to cutting words. The good news is that after both you have an improvement on what was there before.

One of the ornaments I lingered over was an ugly pig. I bought it years ago when it was the only thing left on a boot sale stall and I felt sorry for it. It wasn’t beautiful but, as a doorstop, it was useful. I kept it. Would I keep an ugly word in a story? Yes, if it was definitely the right word in the right place and therefore useful.

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What to Do with Your Solar Eclipse Glasses After the Eclipse

M ore than 31 million people who live in the roughly 115-mile wide path of totality, and millions more who traveled to the U.S. to see Monday’s total solar eclipse, will all be gazing at the sun wearing the same thing: solar eclipse glasses . 

The highly-coveted item is important for eye safety, especially for those who live outside of the zone of totality and can only see a partial eclipse. But after the eclipse is done, people should be sure to dispose of their eclipse-viewing lenses properly. 

Because most eclipse glasses are made out of cardboard, the arms of the glasses can be recycled so long as the lenses are thrown out, according to the University of Rochester .

Eclipse lovers can also choose to donate their glasses. Astronomers Without Borders will be collecting gently-used eclipse glasses from the U.S. and Canada. The campaign, which has been running since 2008, redistributes glasses to people in other countries for upcoming eclipses. Of the millions that were donated during the 2017 total solar eclipse that also crossed through the U.S. only tens of thousands were usable. Thanks to a partnership with Astronomers Without Borders, glasses can be dropped off at all Warby Parker locations across the country for recycling.

Eclipse Glasses USA is also taking donations for two programs, though only one focuses on reusing existing glasses. Through the "5 for 1 program," every five-pack of eclipse glasses purchased, one pair of glasses will be donated. The Eclipse Give Back program takes used glasses that do not have any scratches, punctures, tears, or other damage. The eclipse glasses will be sent to schools in Latin America so that children will be able to view the October 2024 annular eclipse. For more information about where to ship the glasses to, read here .

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