Rowmark

Easy Step by Step Guide

Writing Articles
and Newsletters

Pamela Brooks

Pamela Brooks

and Newsletters
Writing Articles

Easy Step by Step Guide

Rowmark

First published in 2002 by Rowmark Ltd
Unit 36 Broadmarsh Innovation Centre
Havant
Hampshire
PO9 1HS
ISBN 0–9539856–4–4
© Pamela Brooks 2002
The right of Pamela Brooks to be identified as the author of this
work has been asserted by her in accordance with the Copy-
right, Designs and Patents Act 1988.
All rights reserved. No part of this publication may be repro-
duced in any material form (including photocopying or storing
it in any medium by electronic means and whether or not
transiently or incidentally to some other use of publication)
without the written permission of the copyright owner except
in accordance with the provisions of the Copyright, Designs and
Patents Act 1988 or under the terms of a licence issued by the
Copyright Licensing Agency Ltd, 90 Tottenham Court Road,
London, W1P 9HE. Applications for the copyright owner’s
written permission to reproduce any part of this publication
should be addressed to the publisher.
Warning: The doing of an unauthorised act in relation to a
copyright work may result in both a civil claim for damages and
criminal prosecution.
Note: The material contained in this book is set out in good
faith for general guidance and no liability can be accepted for
loss or expense incurred as a result of relying in particular
circumstances on statements made in this book.
Typeset by Freelance Publishing Services, Brinscall, Lancs
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Printed in Great Britain by RPM Reprographics Ltd, Chichester
EL
EL
Printed in Great Britain by RPM Reprographics Ltd, Chichester
www.freelancepublishingservices.co.uk
Typeset by Freelance Publishing Services, Brinscall, Lancs
circumstances on statements made in this book.
loss or expense incurred as a result of relying in particular
faith for general guidance and no liability can be accepted for
Note: The material contained in this book is set out in good
criminal prosecution.
copyright work may result in both a civil claim for damages and
Warning: The doing of an unauthorised act in relation to a
should be addressed to the publisher.
written permission to reproduce any part of this publication
London, W1P 9HE. Applications for the copyright owner’s
Copyright Licensing Agency Ltd, 90 Tottenham Court Road,
Patents Act 1988 or under the terms of a licence issued by the
in accordance with the provisions of the Copyright, Designs and
without the written permission of the copyright owner except
transiently or incidentally to some other use of publication)
it in any medium by electronic means and whether or not
duced in any material form (including photocopying or storing
All rights reserved. No part of this publication may be repro-
right, Designs and Patents Act 1988.
work has been asserted by her in accordance with the Copy-
The right of Pamela Brooks to be identified as the author of this
© Pamela Brooks 2002
ISBN 0–9539856–4–4
PO9 1HS
Hampshire
Havant
Unit 36 Broadmarsh Innovation Centre
First published in 2002 by Rowmark Ltd
 L

33 Commissioning forms
32 When an editor approaches you
32 When to chase
25 Your submissions package
24 Approaching an editor
23 Identifying the gaps
20
19
Identifying your market
2 Getting an article commissioned
Contents
17 In summary
About the author page ix
Introduction
16 An eye to the future
1
12 Grammar and spelling
How to use this guide 2
11 A quick word about language
What you will learn from this guide 3
1 The basics
10 The Five W’s and an H
5
9 What does your audience want?
Good communication 5
7 Identifying your target audience
Identifying your target audience 7
5 Good communication
What does your audience want? 9
5 1 The basics
The Five W’s and an H 10
3 What you will learn from this guide
A quick word about language 11
2 How to use this guide
Grammar and spelling 12
1 Introduction
An eye to the future 16
page ix About the author In summary 17

2 Getting an article commissioned 19

Contents Identifying your market 20
Identifying the gaps 23
Approaching an editor 24
Your submissions package 25
When to chase 32
When an editor approaches you 32
Commissioning forms 33

L
 LE

Dealing with rejection 34

Recycling 34 58 In summary
In summary 35 57 Contacts database

3 Writing articles 37 57 Whose article is it, anyway?

Types of article 37 53 Interviewing techniques

Features within a feature 38 52 Where to find experts

Angles 39 52 Experts

Headlines 41 51 Where to find case studies

Crossheads 41 51 Case studies

Opening paragraph 42 51 4 Case studies and experts

Body copy 43 48 In summary
Closing paragraph 45 46 Where to get ideas
Using contact points 45 46 Presentation of your manuscript
Presentation of your manuscript 46 45 Using contact points
Where to get ideas 46 45 Closing paragraph
In summary 48 43 Body copy

4 Case studies and experts 51 42 Opening paragraph

Case studies 51 41 Crossheads

Where to find case studies 51 41 Headlines

Experts 52 39 Angles

Where to find experts 52 38 Features within a feature

Interviewing techniques 53 37 Types of article

Whose article is it, anyway? 57 37 3 Writing articles

Contacts database 57 35 In summary
In summary 58 34 Recycling
34 Dealing with rejection

LE
LEE

5 Producing newsletters 61
Where does your newsletter fit in? 62
84 In summary
Aims of your newsletter 62
84 Getting feedback
Your audience 63
83 Writing the articles
The content 63
82 Headlines and crossheads
Production issues 65
81 Editing contributions
The printer 66
81 Briefing contributors
House style 67
80 How to get contributors
Typeface 68
79 Who’s going to write the articles?
Grid layout 69
77 Planning the schedule
Illustrations 72
77 The editor’s job
Nameplates 73
77 6 Writing and editing newsletters
Mastheads 73
74 In summary In summary 74
73 Mastheads
6 Writing and editing newsletters 77
73 Nameplates
The editor’s job 77
72 Illustrations
Planning the schedule 77
69 Grid layout
Who’s going to write the articles? 79
68 Typeface
How to get contributors 80
67 House style
Briefing contributors 81
66 The printer
Editing contributions 81
65 Production issues
Headlines and crossheads 82
63 The content
Writing the articles 83
63 Your audience
Getting feedback 84
62 Aims of your newsletter
In summary 84
62 Where does your newsletter fit in?
61 5 Producing newsletters

LEE
 LEEE

7 Writing for web sites and ezines 87

E-media and traditional media – the differences 87
Before you start writing 88
The text on your home page 88
Text on your site 89
Response mechanisms 92
In summary 92

Glossary 95

Useful addresses 97

Useful internet sites 98

Other step by step guides 99

99 Other step by step guides

98 Useful internet sites

97 Useful addresses

95 Glossary

92 In summary
92 Response mechanisms
89 Text on your site
88 The text on your home page
88 Before you start writing
87 E-media and traditional media – the differences
87 7 Writing for web sites and ezines

LEEE
EN
and women’s press.
and has written extensively for the parenting, health
She has also produced newsletters for a local charity
her first child in 1997.
working as a freelance writer following the birth of
tion in the communications paper, then switched to
Chartered Institute of Marketing diploma with distinc-
chip financial services company. She completed the
ten years as a communications specialist for a blue-
Following a degree in English, Pamela Brooks spent
About the author
About the author
Following a degree in English, Pamela Brooks spent
ten years as a communications specialist for a blue-
chip financial services company. She completed the
Chartered Institute of Marketing diploma with distinc-
tion in the communications paper, then switched to
working as a freelance writer following the birth of
her first child in 1997.
She has also produced newsletters for a local charity
and has written extensively for the parenting, health
and women’s press.
EN
1

graphs and advertising.

through to a glossy full-colour production with photo-
single-pager sent to customers or club members
Newsletters can be anything from a black and white
number of top tips … anything you choose.
‘how to do something’ guide, a review, an A–Z or a
ture can be an interview or profile, a think piece, a
between. An article can be news or a feature. A fea-
lengthy piece in a learned journal, and everything in
50-word ‘filler’ in a magazine through to a 5,000-word
Articles have an incredible range – anything from a
and newsletters is for you.
Then this easy step by step guide to writing articles
wonder what sort of thing to put on it?
charged with setting up the company website and
and want some ideas about where to start? Been
earning some extra money as a freelance journalist
some fresh ideas to liven it up a bit? Thinking about
Written your society newsletter for years and want
Introduction
Introduction
Written your society newsletter for years and want
some fresh ideas to liven it up a bit? Thinking about
earning some extra money as a freelance journalist
and want some ideas about where to start? Been
charged with setting up the company website and
wonder what sort of thing to put on it?
Then this easy step by step guide to writing articles
and newsletters is for you.
Articles have an incredible range – anything from a
50-word ‘filler’ in a magazine through to a 5,000-word
lengthy piece in a learned journal, and everything in
between. An article can be news or a feature. A fea-
ture can be an interview or profile, a think piece, a
‘how to do something’ guide, a review, an A–Z or a
number of top tips … anything you choose.
Newsletters can be anything from a black and white
single-pager sent to customers or club members
through to a glossy full-colour production with photo-
graphs and advertising.

1
 2
Writing Articles and Newsletters

case studies (Health Weekly magazine, Playdays

Web sites often contain similar text to newsletters and
articles, though the way people read text on the web
isn’t quite the same as the way they read ‘hard’ copy:
they want quality information in bite-size pieces, right
now, and your audience will disappear at a mouse-
click if they don’t get it!
The line between web sites, articles and newsletters
can be blurred. For example, a charity raising funds
for research into a specific illness might produce one
newsletter for fundraisers and a different one for
people with that illness; they might also have a web
site containing information from both those newslet-
ters (albeit in a more technology-friendly format), and
offer articles from those newsletters to local media.
But they all have one thing in common: the audience.
That’s the most important thing to think about for
any type of written communication. Who are your
audience, what are they looking for and how can you
meet that need?
There are also examples throughout from fictitious
mary of the points covered.
memory. At the end of each chapter there is a sum-
ning to end and then dip into it to refresh your
I recommend that you read it through from begin-
ticles and how to produce newsletters.
show you how to write effective web copy and ar-
web site or an article at some point. This book will
of a society, you’re likely to work on a newsletter, a
small business, a charity or are a committee member
Whether you’re a freelance writer or working for a
How to use this guide
meet that need?
audience, what are they looking for and how can you
any type of written communication. Who are your
That’s the most important thing to think about for
But they all have one thing in common: the audience.
offer articles from those newsletters to local media.

How to use this guide

ters (albeit in a more technology-friendly format), and
site containing information from both those newslet-
Whether you’re a freelance writer or working for a
people with that illness; they might also have a web
small business, a charity or are a committee member
newsletter for fundraisers and a different one for
for research into a specific illness might produce one
of a society, you’re likely to work on a newsletter, a
web site or an article at some point. This book will
can be blurred. For example, a charity raising funds
show you how to write effective web copy and ar-
The line between web sites, articles and newsletters
ticles and how to produce newsletters. click if they don’t get it!
I recommend that you read it through from begin-
now, and your audience will disappear at a mouse-
ning to end and then dip into it to refresh your
they want quality information in bite-size pieces, right
isn’t quite the same as the way they read ‘hard’ copy:
memory. At the end of each chapter there is a sum-
mary of the points covered.
articles, though the way people read text on the web
Web sites often contain similar text to newsletters and
There are also examples throughout from fictitious
case studies (Health Weekly magazine, Playdays
Writing Articles and Newsletters
2
3
Introduction

newsletter) to help show you how to write an article,

newsletter and web site page.

What you will learn from this guide

This guide looks at how to write articles, newsletters
and web site copy. It will help you to understand the
processes involved in producing a newsletter and how
tended.
to tailor your copy to suit your audience.
purely for convenience and no prejudice or bias is in-
she’ throughout the guide, I have used ‘he’ – this is This guide will show you:
Note: rather than using the cumbersome form ‘he or
• how to identify your audience and what they’re
looking for, and how to meet those needs
web site copy.
newsletters (in-house and external) • how to produce a newsletter
articles
• step by step, how to write and produce • step by step, how to write and produce
articles
• how to produce a newsletter newsletters (in-house and external)
web site copy.
looking for, and how to meet those needs
• how to identify your audience and what they’re
Note: rather than using the cumbersome form ‘he or
This guide will show you: she’ throughout the guide, I have used ‘he’ – this is
purely for convenience and no prejudice or bias is in-
to tailor your copy to suit your audience.
tended.
processes involved in producing a newsletter and how
and web site copy. It will help you to understand the
This guide looks at how to write articles, newsletters
What you will learn from this guide

newsletter and web site page.

newsletter) to help show you how to write an article,

Introduction
3
5

If it’s an article about 50 ways to burn 100 calories

piece, so your words need to be relevant to the title.
the title is probably what attracted your reader to your
Relevant

timely and readable.

Good communication is relevant, focused,
1
The basics
nicating well.
to live up to their expectations. That means commu-
or because they want to be entertained – so you need
words – either because they want to learn something
your audience. Your audience has chosen to read your
for a web site, you are communicating something to Good communication
Whether you’re writing a newsletter, an article or copy
Whether you’re writing a newsletter, an article or copy
Good communication for a web site, you are communicating something to
your audience. Your audience has chosen to read your
words – either because they want to learn something
or because they want to be entertained – so you need
to live up to their expectations. That means commu-
nicating well.
The basics
Good communication is relevant, focused,
1 timely and readable.

Relevant
the title is probably what attracted your reader to your
piece, so your words need to be relevant to the title.
If it’s an article about 50 ways to burn 100 calories

5

Writing Articles and Newsletters
and you suddenly start talking about politics (or vice
versa), it’s not relevant and you’ll lose your reader.
Ditto an article about bungee-jumping in a newsletter
for a playgroup (unless, of course, it’s an account of
how someone raised money!), or a page about dia-
mond-mining in a web site for a stationery company
(unless you’ve clearly marked it as a ‘link’ and explained
its presence).
Focused
when you write, have a specific person in mind: that
is, imagine your average reader (if the profile fits some-
one you know, so much the better – pretend you’re
talking to that person as you write). The section on
page 7 gives more advice about identifying your au-
dience.
Timely
particularly with newsletters and web sites, the con-
tent has to be newsy! There’s no point in a local ga-
rage sending its customers a newsletter containing an
article about ways to protect their cars in winter if the
issue date is the middle of summer. There’s also no
point in a web site that never changes is text – the
internet audience is looking for current information,
so you should update your web site regularly. Even if
you think you know your subject backwards, check
that you’ve seen the latest information and are up to
date with any new developments in the area. You also
need to take into account the frequency of your pub-
lication (or how often the web site is updated) – some-
thing produced weekly or even daily needs to be even
more topical than something produced every three
months. And bear in mind that magazines have long
6
6
months. And bear in mind that magazines have long
more topical than something produced every three
thing produced weekly or even daily needs to be even
lication (or how often the web site is updated) – some-
need to take into account the frequency of your pub-
date with any new developments in the area. You also
that you’ve seen the latest information and are up to
you think you know your subject backwards, check
so you should update your web site regularly. Even if
internet audience is looking for current information,
point in a web site that never changes is text – the
issue date is the middle of summer. There’s also no
article about ways to protect their cars in winter if the
rage sending its customers a newsletter containing an
tent has to be newsy! There’s no point in a local ga-
particularly with newsletters and web sites, the con-
Timely
dience.
page 7 gives more advice about identifying your au-
talking to that person as you write). The section on
one you know, so much the better – pretend you’re
is, imagine your average reader (if the profile fits some-
when you write, have a specific person in mind: that
Focused
its presence).
(unless you’ve clearly marked it as a ‘link’ and explained
mond-mining in a web site for a stationery company
how someone raised money!), or a page about dia-
for a playgroup (unless, of course, it’s an account of
Ditto an article about bungee-jumping in a newsletter
versa), it’s not relevant and you’ll lose your reader.
and you suddenly start talking about politics (or vice
Writing Articles and Newsletters
7
in that subject)
a professional qualification or a lot of experience
• professional journals (though you’re likely to need
teaching)
in a particular area, such as nursing or farming or
• the trade press (publications for people working
may be national, local or regional)
son in the street – note also that the newspapers
magazines and newspapers for the average per-
the consumer press (daily, weekly and monthly • web site, or decide not to bother reading your news-
could be for
Articles
Who are you talking to? In broad terms:
Identifying your target audience
industry.
talking to the trade and using terms standard to that
letter in future. And always avoid jargon, unless you’re
web site, or decide not to bother reading your news-
and your reader will simply flick to another article or
keep it simple (but not patronising) and lively. Ramble
Readable
planning the May or June issue.
in January, and at the same time the editor will be
February issue of a monthly magazine is on the shelves
sale a month in advance of their cover date – so the
lead times and monthly magazines are generally on
The basics
The basics
lead times and monthly magazines are generally on
sale a month in advance of their cover date – so the
February issue of a monthly magazine is on the shelves
in January, and at the same time the editor will be
planning the May or June issue.
Readable
keep it simple (but not patronising) and lively. Ramble
and your reader will simply flick to another article or
letter in future. And always avoid jargon, unless you’re
talking to the trade and using terms standard to that
industry.
Identifying your target audience
Who are you talking to? In broad terms:
Articles
could be for
• the consumer press (daily, weekly and monthly
magazines and newspapers for the average per-
son in the street – note also that the newspapers
may be national, local or regional)
• the trade press (publications for people working
in a particular area, such as nursing or farming or
teaching)
• professional journals (though you’re likely to need
a professional qualification or a lot of experience
in that subject)
7

Writing Articles and Newsletters
• the specialist press (special-interest publications
aimed at people interested in a particular subject,
such as weddings, fashion, pets, cars, sport).
The media pack for the publication will tell you more
about the audience, including:
• how many buy it (circulation figures)
• how many read it (readership figures)
• age range
• male/female split
• socio-economic group (education and disposable
income)
• lifestyle factors (interests, where they live, politi-
cal/religious/social links).
These, together with a couple of back issues of the
publication, should tell you the style, tone and vocabu-
lary you need to use for that audience.
Some publications also produce editorial guidelines
which tell you exactly what they want so it’s worth
asking for a copy when you send in a query letter.
Newsletters
these are for specific groups such as:
• employees (internal newsletters)
• suppliers, customers, retailers and distributors
(trade newsletters)
8
8
(trade newsletters)
suppliers, customers, retailers and distributors •
employees (internal newsletters) •
these are for specific groups such as:
Newsletters
asking for a copy when you send in a query letter.
which tell you exactly what they want so it’s worth
Some publications also produce editorial guidelines
lary you need to use for that audience.
publication, should tell you the style, tone and vocabu-
These, together with a couple of back issues of the
cal/religious/social links).
lifestyle factors (interests, where they live, politi- •
income)
socio-economic group (education and disposable •
male/female split •
age range •
how many read it (readership figures) •
how many buy it (circulation figures) •
about the audience, including:
The media pack for the publication will tell you more
such as weddings, fashion, pets, cars, sport).
aimed at people interested in a particular subject,
the specialist press (special-interest publications •
Writing Articles and Newsletters
9
or service
• news/education – facts about an event, a product
or web site? Possible reasons include:
Why is your audience reading the article, newsletter
What does your audience want?
for money.
time they spend online). And customers want value
they pay their service provider/phone provider for the
paid a subscription for unlimited ‘free’ browsing or
has chosen to buy) or by surfing the net (either they’ve
have the same perceived value as those the reader
tion need to try particularly hard because they don’t
(internal or ‘free’ customer newsletters and publica-
newspaper or magazine, subscribing to a newsletter
the privilege of reading your words – by buying the
In most cases, the audience will actually be paying for
which case you need to write for the average consumer).
lifestyle factors of the subscribers) or a public web site (in
dia pack to tell you the age, socio-economic group and
the web site owner will give you the equivalent of a me-
this may be a subscription-only web site (in which case
Web sites
split, socio-economic group, lifestyle factors).
your target audience (circulation, age, male/female
should be able to give you all the information about
if you’re writing an article for a newsletter, the editor
If you’re the editor, you’ll know who your audience is;
port group or playgroup).
• special interest groups (for example a charity, sup-
The basics
The basics
• special interest groups (for example a charity, sup-
port group or playgroup).
If you’re the editor, you’ll know who your audience is;
if you’re writing an article for a newsletter, the editor
should be able to give you all the information about
your target audience (circulation, age, male/female
split, socio-economic group, lifestyle factors).
Web sites
this may be a subscription-only web site (in which case
the web site owner will give you the equivalent of a me-
dia pack to tell you the age, socio-economic group and
lifestyle factors of the subscribers) or a public web site (in
which case you need to write for the average consumer).
In most cases, the audience will actually be paying for
the privilege of reading your words – by buying the
newspaper or magazine, subscribing to a newsletter
(internal or ‘free’ customer newsletters and publica-
tion need to try particularly hard because they don’t
have the same perceived value as those the reader
has chosen to buy) or by surfing the net (either they’ve
paid a subscription for unlimited ‘free’ browsing or
they pay their service provider/phone provider for the
time they spend online). And customers want value
for money.
What does your audience want?
Why is your audience reading the article, newsletter
or web site? Possible reasons include:
• news/education – facts about an event, a product
or service
9
 10
Writing Articles and Newsletters

• information – for example contact points of spe-

reader
cialist groups, listings of local amenities
how – how you present the information to your •
• entertainment – not necessarily humour; ‘think
in it for them?)
pieces’ come under this category too.
why – should the audience read your work (what’s •

The five Ws and an H

Basically, we’re talking ‘who’, ‘what’, ‘when’, ‘where’,
‘why’ and ‘how’. These should be the focus of every
piece you write.
• what – this is the subject you’re writing about (if
it’s a celebrity story it might become a who, focus-
ing on the person rather than the event)
• who – splits into three: the audience (who you‘re
writing for), the case study (the audience needs to
identify with any personal story you use) and the
expert (the audience needs to believe the expert
is the best-qualified for the job)
• where it’s being published (this tells you the tone
and the type of angle the audience expect)
• when – is it topical, e.g. tying in with a PR cam-
paign awareness period? Is it seasonal? Do you
have the latest information on the subject?
have the latest information on the subject?
paign awareness period? Is it seasonal? Do you
when – is it topical, e.g. tying in with a PR cam- •
and the type of angle the audience expect)
where it’s being published (this tells you the tone •
is the best-qualified for the job)
expert (the audience needs to believe the expert
identify with any personal story you use) and the
writing for), the case study (the audience needs to
who – splits into three: the audience (who you‘re •
ing on the person rather than the event)
it’s a celebrity story it might become a who, focus-
what – this is the subject you’re writing about (if •
piece you write.
‘why’ and ‘how’. These should be the focus of every
Basically, we’re talking ‘who’, ‘what’, ‘when’, ‘where’,
The five Ws and an H

• why – should the audience read your work (what’s

pieces’ come under this category too.
in it for them?)
entertainment – not necessarily humour; ‘think •
• how – how you present the information to your
cialist groups, listings of local amenities
reader
information – for example contact points of spe- •

Writing Articles and Newsletters

10
11
Would you write ‘John Smith, whose wife Jane has
plc, has just opened an organic co-operative.’
whose husband John is CEO of Anytown Company
if it still seems neutral. For example, ‘Jane Smith,
neutral, substitute a man for a woman and check
scriptions, particularly of people – even if it seems
ability and physical appearance. Look at your de-
• be biased – in terms of sex, race, religion, age, dis-
Don’t
point.
Simple, short words will help you be clear and to the
and using terms your readers know well.
less you’re writing for a specialist or trade market
read. Use everyday speech and avoid jargon un-
• keep it clear – make it easy for your audience to
points across quickly. If it isn’t relevant, cut.
convoluted arguments, and you need to get your
• keep to the point – you don’t have the space for
Do
A few quick rules of thumb about language:
consistent with the ‘house style’ of the publication.
your articles, newsletters and web sites needs to be
Language is important, too. The language you use in
wrong, too.
editor!) will start to wonder if you’ve got your facts
matical and spelling errors, your audience (and your
if your article looks sloppy and is covered in gram-
Spelling, grammar and presentation are important –
A quick word about language
The basics
The basics
A quick word about language
Spelling, grammar and presentation are important –
if your article looks sloppy and is covered in gram-
matical and spelling errors, your audience (and your
editor!) will start to wonder if you’ve got your facts
wrong, too.
Language is important, too. The language you use in
your articles, newsletters and web sites needs to be
consistent with the ‘house style’ of the publication.
A few quick rules of thumb about language:
Do
• keep to the point – you don’t have the space for
convoluted arguments, and you need to get your
points across quickly. If it isn’t relevant, cut.
• keep it clear – make it easy for your audience to
read. Use everyday speech and avoid jargon un-
less you’re writing for a specialist or trade market
and using terms your readers know well.
Simple, short words will help you be clear and to the
point.
Don’t
• be biased – in terms of sex, race, religion, age, dis-
ability and physical appearance. Look at your de-
scriptions, particularly of people – even if it seems
neutral, substitute a man for a woman and check
if it still seems neutral. For example, ‘Jane Smith,
whose husband John is CEO of Anytown Company
plc, has just opened an organic co-operative.’
Would you write ‘John Smith, whose wife Jane has
11

Writing Articles and Newsletters
just opened an organic co-operative, has been ap-
pointed CEO of Anytown Company plc’?
• use stereotypes.
Grammar and spelling
If you know that grammar and spelling aren’t your
strongest point, invest in a bad speller’s dictionary and
a simple guide to polishing your grammar, or ask a
friend who’s good at grammar and spelling to check
your copy.
Some of the points listed below might seem glaringly
obvious, but they’re very common!
Apostrophes
The apostrophe has two functions:
• it shows a word or letter is missing – e.g. he’s in-
stead of he is, don’t instead of do not, I’m instead
of I am etc.
• it shows possession – e.g. Peter’s ball = ball
belonging to Peter.
The usual mix-up is between it’s and its. It’s = it is and
its = belonging to it.
The other common difficulty is apostrophes around
plurals. The rule is that the apostrophe S go after the
subject – so it’s children’s feet (not childrens’), people’s
lives (not peoples’), but agencies’s addresses (more
than one agency).
12
12
than one agency).
lives (not peoples’), but agencies’s addresses (more
subject – so it’s children’s feet (not childrens’), people’s
plurals. The rule is that the apostrophe S go after the
The other common difficulty is apostrophes around
its = belonging to it.
The usual mix-up is between it’s and its. It’s = it is and
belonging to Peter.
it shows possession – e.g. Peter’s ball = ball •
of I am etc.
stead of he is, don’t instead of do not, I’m instead
it shows a word or letter is missing – e.g. he’s in- •
The apostrophe has two functions:
Apostrophes
obvious, but they’re very common!
Some of the points listed below might seem glaringly
your copy.
friend who’s good at grammar and spelling to check
a simple guide to polishing your grammar, or ask a
strongest point, invest in a bad speller’s dictionary and
If you know that grammar and spelling aren’t your
Grammar and spelling
use stereotypes. •
pointed CEO of Anytown Company plc’?
just opened an organic co-operative, has been ap-
Writing Articles and Newsletters
13
The basics

way.’ She stared angrily at him.

before the closing speech-marks. For example: ‘No
a full stop (or question mark or exclamation mark)
If you have a new sentence after the speech, you need
‘Hello’, she said, holding out her hand.
comma after the closing speech-marks. For example:
If you continue the sentence after the speech, use a
sure,’ she replied.
Punctuation goes inside speech – e.g. ‘Sorry, I’m not
Punctuation around speech
rally where the comma should be.
work aloud, nine times out of ten you’ll pause natu-
Think of commas as breathing spaces. If you read your
the comma should be after the ‘and’, not before it.)
to look at her.’ This doesn’t make sense; so in this case
the commas it reads, ‘He took a seat beside her, turned
her.’ This is wrong; if you take out the bit between
a seat beside her, and after a while, turned to look at
the paired commas rule and it will help. (E.g. ‘He took
Watch out for commas around ‘and’ and ‘but’ – apply
‘though’.)
still make sense. (So you need a comma both sides of
You can take out ‘though’ and the sentence would
ing the winds.
Surprisingly, though, there were many people brav-
ample:
mas and the sentence would still make sense. For ex-
you should be able to remove the bit between com-
Commas mark clauses. They act almost as brackets, so
Commas
Commas
Commas mark clauses. They act almost as brackets, so
you should be able to remove the bit between com-
mas and the sentence would still make sense. For ex-
ample:
Surprisingly, though, there were many people brav-
ing the winds.
You can take out ‘though’ and the sentence would
still make sense. (So you need a comma both sides of
‘though’.)
Watch out for commas around ‘and’ and ‘but’ – apply
the paired commas rule and it will help. (E.g. ‘He took
a seat beside her, and after a while, turned to look at
her.’ This is wrong; if you take out the bit between
the commas it reads, ‘He took a seat beside her, turned
to look at her.’ This doesn’t make sense; so in this case
the comma should be after the ‘and’, not before it.)
Think of commas as breathing spaces. If you read your
work aloud, nine times out of ten you’ll pause natu-
rally where the comma should be.
Punctuation around speech
Punctuation goes inside speech – e.g. ‘Sorry, I’m not
sure,’ she replied.
If you continue the sentence after the speech, use a
comma after the closing speech-marks. For example:
‘Hello’, she said, holding out her hand.
If you have a new sentence after the speech, you need
a full stop (or question mark or exclamation mark)
before the closing speech-marks. For example: ‘No
way.’ She stared angrily at him.

The basics
13

Writing Articles and Newsletters
If you break up dialogue, use a capital letter inside
the second speech mark if the dialogue is the start of
a new sentence, and a lower case letter if it’s the con-
tinuation of a sentence. For example:
‘Sorry, I’m not sure,’ she replied. ‘You see, I’m not from
this part of town.’
BUT
‘Sorry, I’m not sure,’ she replied, ‘because I’m a stranger
myself.’
If you break up speech to show an action or thought,
use dashes, e.g. ‘Do it like this –’ he spun round ‘– or it
won’t work.’
Semi-colons, colons and dashes
A semi-colon (;) is used:
• to link two sentences (e.g. ‘It was a hot day; she
was glad of the air-conditioning.’)
• to punctuate a list of items (e.g. ‘John looked at
his desk. Paper; pencil; rubber; pen; correction
fluid; dictionary and calculator. Exactly what he
needed.’)
Colons (:) and dashes (–) indicate pauses that are stronger
than a comma but not as strong as a full stop. For ex-
ample: ‘I could meet you at the train station – say, at ten?’)
Words that sound similar but are spelled
differently … the second speech mark if the dialogue is the start of
Affect/effect
An event affects someone or has an effect on them –
14
14
An event affects someone or has an effect on them –
Affect/effect
differently …
Words that sound similar but are spelled
ample: ‘I could meet you at the train station – say, at ten?’)
than a comma but not as strong as a full stop. For ex-
Colons (:) and dashes (–) indicate pauses that are stronger
needed.’)
fluid; dictionary and calculator. Exactly what he
his desk. Paper; pencil; rubber; pen; correction
to punctuate a list of items (e.g. ‘John looked at •
was glad of the air-conditioning.’)
to link two sentences (e.g. ‘It was a hot day; she •
A semi-colon (;) is used:
Semi-colons, colons and dashes
won’t work.’
use dashes, e.g. ‘Do it like this –’ he spun round ‘– or it
If you break up speech to show an action or thought,
myself.’
‘Sorry, I’m not sure,’ she replied, ‘because I’m a stranger
BUT
this part of town.’
‘Sorry, I’m not sure,’ she replied. ‘You see, I’m not from
tinuation of a sentence. For example:
a new sentence, and a lower case letter if it’s the con-
If you break up dialogue, use a capital letter inside
Writing Articles and Newsletters
15
cess (too much, too little, too silly).
tive (she has a lot to do); too usually refers to an ex-
To is used as a direction (going to a place) or an infini-
To and too
their ball over there.’)
there = place. (e.g. ‘They’re cross because they’ve left
They’re = they are; their = belonging to them; and
They’re/their/there
verb (doing word).
loose is an adjective (describing word) and lose is a
Another way of remembering which is which is that
you lose some weight, your jeans will be loose.
something is loose it needs tightening up. So when
When you lose something you try to find it; when
Loose/lose
complemented her dark hair’).
to go well with something (e.g. ‘the red of her sweater
‘He complimented her on her dress’); complement =
Compliment = to say something nice to someone (e.g.
Compliment/complement
(naming word) and breathe is the verb (doing word).
You take a breath or you breathe – breath is the noun
Breath/breathe
is about to give something to you.
to you; but ‘I brought you a present’ means someone
paid for a present but isn’t necessarily going to give it
things: ‘I bought you a present’ means someone has
you took it somewhere.) So when it comes to giving
paid for it.) You brought it home. (Verb is bring – i.e.
You bought a cake at the shop. (Verb is buy – i.e. you
Bought/brought
(doing word).
effect is the noun (naming word) and affect is the verb
The basics
The basics
effect is the noun (naming word) and affect is the verb
(doing word).
Bought/brought
You bought a cake at the shop. (Verb is buy – i.e. you
paid for it.) You brought it home. (Verb is bring – i.e.
you took it somewhere.) So when it comes to giving
things: ‘I bought you a present’ means someone has
paid for a present but isn’t necessarily going to give it
to you; but ‘I brought you a present’ means someone
is about to give something to you.
Breath/breathe
You take a breath or you breathe – breath is the noun
(naming word) and breathe is the verb (doing word).
Compliment/complement
Compliment = to say something nice to someone (e.g.
‘He complimented her on her dress’); complement =
to go well with something (e.g. ‘the red of her sweater
complemented her dark hair’).
Loose/lose
When you lose something you try to find it; when
something is loose it needs tightening up. So when
you lose some weight, your jeans will be loose.
Another way of remembering which is which is that
loose is an adjective (describing word) and lose is a
verb (doing word).
They’re/their/there
They’re = they are; their = belonging to them; and
there = place. (e.g. ‘They’re cross because they’ve left
their ball over there.’)
To and too
To is used as a direction (going to a place) or an infini-
tive (she has a lot to do); too usually refers to an ex-
cess (too much, too little, too silly).
15

Writing Articles and Newsletters
Whose/who’s
Whose = belonging to whom, and who’s = who is (e.g.
‘Who’s to say?’ but ‘Whose is that book?’)
Wont/won’t
Wont = custom (‘as was his wont’); won’t = will not
You’re/your
You’re = you are; your = belonging to them (e.g.
‘You’re cross because you’ve left your book behind.’)
An eye to the future
It’s easy to get into a rut, writing for the same publi-
cations regularly and being quite happy to do so.
But remember that the media is a shifting industry –
even long-standing publications close (such as
Woman’s Realm in 2001), and new publications might
only be on the stands for a month or two before the
publishing company decides that sales aren’t high
enough or advertising revenue won’t cover the costs.
Plus there are trends – suddenly parenting or health
or fitness is a popular area and the number of publi-
cations in the market doubles, then the market con-
tracts again and many of the new titles disappear.
Personnel change quickly, too. If your editor at Health
Weekly moves to a different publication, it’s a chance
for you to write for that publication too (editors of-
ten take regular freelancers with them). However, by
the same token, it means you’ll have to build up a
relationship with the new editor of Health Weekly,
who will be bringing his own tried-and-trusted
freelancers with him.
To make sure you don’t fall into the trap of relying on
one or two particular publications or web sites (and
16
16
one or two particular publications or web sites (and
To make sure you don’t fall into the trap of relying on
freelancers with him.
who will be bringing his own tried-and-trusted
relationship with the new editor of Health Weekly,
the same token, it means you’ll have to build up a
ten take regular freelancers with them). However, by
for you to write for that publication too (editors of-
Weekly moves to a different publication, it’s a chance
Personnel change quickly, too. If your editor at Health
tracts again and many of the new titles disappear.
cations in the market doubles, then the market con-
or fitness is a popular area and the number of publi-
Plus there are trends – suddenly parenting or health
enough or advertising revenue won’t cover the costs.
publishing company decides that sales aren’t high
only be on the stands for a month or two before the
Woman’s Realm in 2001), and new publications might
even long-standing publications close (such as
But remember that the media is a shifting industry –
cations regularly and being quite happy to do so.
It’s easy to get into a rut, writing for the same publi-
An eye to the future
‘You’re cross because you’ve left your book behind.’)
You’re = you are; your = belonging to them (e.g.
You’re/your
Wont = custom (‘as was his wont’); won’t = will not
Wont/won’t
‘Who’s to say?’ but ‘Whose is that book?’)
Whose = belonging to whom, and who’s = who is (e.g.
Whose/who’s
Writing Articles and Newsletters
17
lifestyle factors.
at their age, gender, socio-economic group and
letters; paying or ‘free’ audience for web sites. Look
for articles; internal, trade or special interest news-
trade press, professional journals or specialist press
Identify your target audience: consumer press,
and readable.
• Good communication is relevant, focused, timely
In summary
expert etc).
every article you write (magazine, book, web site,
make it a rule to find at least one new source for
come naturally from your research, especially if you
• finding new topics that interest you – this should
about how to sort out your finances)
will reduce your stress levels (then go into detail
health’ and how being in control of your finances
piece for a health magazine about your ‘financial
write about financial matters you could write a
for an accountancy magazine; or if you usually
ters, you could write a piece about office health
example, if you usually write about health mat-
• finding a new angle on your regular topics – for
ways of doing this include:
improves your chances of staying in the market. Good
changes), keep widening your fields of interest – this
then finding yourself stuck if they close or the editor
The basics
The basics
then finding yourself stuck if they close or the editor
changes), keep widening your fields of interest – this
improves your chances of staying in the market. Good
• ways of doing this include:
• finding a new angle on your regular topics – for
example, if you usually write about health mat-
ters, you could write a piece about office health
for an accountancy magazine; or if you usually
write about financial matters you could write a
piece for a health magazine about your ‘financial
health’ and how being in control of your finances
will reduce your stress levels (then go into detail
about how to sort out your finances)
• finding new topics that interest you – this should
come naturally from your research, especially if you
make it a rule to find at least one new source for
every article you write (magazine, book, web site,
expert etc).
In summary
• Good communication is relevant, focused, timely
and readable.
• Identify your target audience: consumer press,
trade press, professional journals or specialist press
for articles; internal, trade or special interest news-
letters; paying or ‘free’ audience for web sites. Look
at their age, gender, socio-economic group and
lifestyle factors.
17
 18
Writing Articles and Newsletters

• Look at what your audience wants – news, infor-

mation or entertainment.

• Use the five Ws and an H to focus your work – what

(subject), who (audience, case study and expert),
where (tone and angle), when (topical, up to date),
why (what’s in it for the audience), how (your ap-
proach).

• Your language (tone and vocabulary) needs to be

consistent with that of the publication where it
appears.
• Keep it simple and relevant.
• Avoid bias and stereotypes.
• Check your spelling and grammar.
• Remember that editors, publications and web sites
change – widen your fields of interest to avoid
becoming too reliant on particular publications by
finding new angles on regular topics and finding
new topics that interest you.
new topics that interest you.
finding new angles on regular topics and finding
becoming too reliant on particular publications by
change – widen your fields of interest to avoid
Remember that editors, publications and web sites •
Check your spelling and grammar. •
Avoid bias and stereotypes. •
Keep it simple and relevant. •
appears.
consistent with that of the publication where it
Your language (tone and vocabulary) needs to be •

proach).
why (what’s in it for the audience), how (your ap-
where (tone and angle), when (topical, up to date),
(subject), who (audience, case study and expert),
Use the five Ws and an H to focus your work – what •

mation or entertainment.
Look at what your audience wants – news, infor- •

Writing Articles and Newsletters

18
19

marketing.
tact has to come from you. And that means targeted
ask you to write for them. In most cases, the first con-
don’t expect editors to beat a path to your door and
So, unless you’re an acknowledged expert in a field,

2
• you’re available to write the piece.

before, to the right brief and within deadline)

Getting an article
• you have a track record (i.e. you’ve written articles

commissioned
• you exist

something, he needs to know:

bit! But before an editor rings you asking you to write
OK. It’s a nice dream – especially the tons of money
by the way they’ll pay you tons for it.
ject, so many words, by a certain deadline? Oh, and
you just write a quick piece on such-and-such a sub-
The phone rings. It’s the editor at Health Weekly. Can
commissioned
Getting an article
2
The phone rings. It’s the editor at Health Weekly. Can
you just write a quick piece on such-and-such a sub-
ject, so many words, by a certain deadline? Oh, and
by the way they’ll pay you tons for it.
OK. It’s a nice dream – especially the tons of money
bit! But before an editor rings you asking you to write
something, he needs to know:
• you exist
• you have a track record (i.e. you’ve written articles
before, to the right brief and within deadline)
• you’re available to write the piece.
So, unless you’re an acknowledged expert in a field,
don’t expect editors to beat a path to your door and
ask you to write for them. In most cases, the first con-
tact has to come from you. And that means targeted
marketing.

19

Writing Articles and Newsletters
Identifying your market
What do you want to write?
Firstly, identify your market. What sort of articles do
you want to write?
Forget the humorous column about your nearest and
dearest – editors receive hundreds of similar offers and
always refuse them (unless you’re already famous or
have an extremely good track record with that editor;
plus it’s harder than you’d think to sustain a column
like this over the course of weeks and months).
Forget reviews, too. Editors are inundated with people
offering to write reviews about books, films, travel,
TV, music, restaurants, theatre performances, concerts
and the like. Ditto articles about gardening, cookery
and interior design – they’re usually regular slots and
they’ll be written by an in-house expert or a long-
standing freelance. There will be a large queue of
people wanting to fill that person’s shoes, too. Obvi-
ous anniversaries and ‘reference book’ type articles
are also likely to be covered in-house.
So focus your energy on targeting an area that’s easier
to break into – in most cases, this is writing general
features. That means an informative (and entertain-
ing) article about one particular subject.
Which subject?
Make a list of what you can write about – and be specific.
• do you have any qualifications? (e.g. you’re a
mechanic and can give people advice on how to
do minor jobs on their car, how to prepare it for
winter etc.)
20
20
winter etc.)
do minor jobs on their car, how to prepare it for
mechanic and can give people advice on how to
do you have any qualifications? (e.g. you’re a •
Make a list of what you can write about – and be specific.
Which subject?
ing) article about one particular subject.
features. That means an informative (and entertain-
to break into – in most cases, this is writing general
So focus your energy on targeting an area that’s easier
are also likely to be covered in-house.
ous anniversaries and ‘reference book’ type articles
people wanting to fill that person’s shoes, too. Obvi-
standing freelance. There will be a large queue of
they’ll be written by an in-house expert or a long-
and interior design – they’re usually regular slots and
and the like. Ditto articles about gardening, cookery
TV, music, restaurants, theatre performances, concerts
offering to write reviews about books, films, travel,
Forget reviews, too. Editors are inundated with people
like this over the course of weeks and months).
plus it’s harder than you’d think to sustain a column
have an extremely good track record with that editor;
always refuse them (unless you’re already famous or
dearest – editors receive hundreds of similar offers and
Forget the humorous column about your nearest and
you want to write?
Firstly, identify your market. What sort of articles do
What do you want to write?
Identifying your market
Writing Articles and Newsletters
21
check:
Once you’ve decided which area you want to work in,
Who should you target?
record’.
commissioned and can show a new editor your ‘track
start to broaden out when you’ve had a few articles
well (such as health, parenting or finance) and then
It’s best to stick to one particular area that you know
for more about case studies.)
make moving house less stressful? (See Chapter 4
the house move from hell for a feature on how to
• do you know anyone with a story to tell, e.g.
ter 4 for more about experts.)
can give your article extra credibility? (See Chap-
• do you know any experts in particular areas who
research your facts.)
ested in it you’ll write with passion and be able to
know much about the topic, but if you’re inter-
• what are you interested in? (NB you might not
your own aviary.)
feature on how to build up a collection or set up
lect snuff boxes or breed finches and could write a
ested in? (Look at your hobbies – maybe you col-
about that others might not, but might be inter-
• are you an expert in anything? What do you know
antiques)
can give people advice on how to care for their
(e.g. you may have restored furniture for years and
• do you have experience in doing something?
Getting an article commissioned
Getting an article commissioned
• do you have experience in doing something?
(e.g. you may have restored furniture for years and
can give people advice on how to care for their
antiques)
• are you an expert in anything? What do you know
about that others might not, but might be inter-
ested in? (Look at your hobbies – maybe you col-
lect snuff boxes or breed finches and could write a
feature on how to build up a collection or set up
your own aviary.)
• what are you interested in? (NB you might not
know much about the topic, but if you’re inter-
ested in it you’ll write with passion and be able to
research your facts.)
• do you know any experts in particular areas who
can give your article extra credibility? (See Chap-
ter 4 for more about experts.)
• do you know anyone with a story to tell, e.g.
the house move from hell for a feature on how to
make moving house less stressful? (See Chapter 4
for more about case studies.)
It’s best to stick to one particular area that you know
well (such as health, parenting or finance) and then
start to broaden out when you’ve had a few articles
commissioned and can show a new editor your ‘track
record’.
Who should you target?
Once you’ve decided which area you want to work in,
check:
21

Writing Articles and Newsletters
• which publications cover that area. Look at Willing’s
Press Guide or the latest edition of the Writers’
and Artists’ Yearbook in your local library first, or
start browsing the news stands to see:
• which publications are available
• how frequently they’re published
• which sort of topics they cover
• do they have slots for freelancers? You should be
able to tell that from looking at the publication –
check the masthead, which tells you:
• who the editor is
• the business name, address and contact details
• members of staff
Once you’ve done that, read through the publication,
check who the articles are written by (known as the
‘by-line’) and see how many of those writers are listed
as part of the publication’s staff.
Remember that small magazines and local publications
are much easier to break into than national dailies
and large-circulation magazines.
How should you target them?
When you’ve narrowed down which publications you
want to target, try to get hold of four or five back
issues and check the publication’s style. What kind of
articles do they publish? Specifically, look at:
• the length of each article. This will give you a rough
idea of how long your article should be – it’s usu-
ally around 800 words for a page in the average
magazine. If you want a closer approximation,
count the number of words in ten full lines, then
divide by ten to get the number of words per line.
Then count the number of lines per column – the
22
22
Then count the number of lines per column – the
divide by ten to get the number of words per line.
count the number of words in ten full lines, then
magazine. If you want a closer approximation,
ally around 800 words for a page in the average
idea of how long your article should be – it’s usu-
• the length of each article. This will give you a rough
articles do they publish? Specifically, look at:
issues and check the publication’s style. What kind of
want to target, try to get hold of four or five back
When you’ve narrowed down which publications you
How should you target them?
and large-circulation magazines.
are much easier to break into than national dailies
Remember that small magazines and local publications
as part of the publication’s staff.
‘by-line’) and see how many of those writers are listed
check who the articles are written by (known as the
Once you’ve done that, read through the publication,
• members of staff
• the business name, address and contact details
• who the editor is
check the masthead, which tells you:
able to tell that from looking at the publication –
do they have slots for freelancers? You should be •
• which sort of topics they cover
• how frequently they’re published
• which publications are available
start browsing the news stands to see:
and Artists’ Yearbook in your local library first, or
Press Guide or the latest edition of the Writers’
• which publications cover that area. Look at Willing’s
Writing Articles and Newsletters
23
showing which topics were covered, when, and by
a computer database package or a spreadsheet –
worth keeping a small database – either on index cards,
This is where studying back issues comes in handy. It’s
new angle!)
(in which case you need to make sure you have a
and know they cover the same topic very regularly
unless you’re a regular reader of that publication
them an idea they covered only two months ago,
in advance – but there’s still no point in sending
Most monthly magazines work at least three months
Identifying the gaps
and vocabulary.
• the tone (friendly, formal, serious, light-hearted)
long?
• the length of paragraphs and sentences: short or
and the like)?
heads, as above, plus contact points, practical tips
‘boxy’ pieces on the page (case studies and expert
(running copy) or is there a main piece with lots of
• the layout – does it tend to be one long article
article (also known as running copy)?
Do they box them out or use them as part of the
• whether they use case studies and expert heads.
tions, the shorter the article will be
• the ratio of text to illustrations; the more illustra-
ber of columns
line x the number of lines per column x the num-
word-count is therefore the number of words per
Getting an article commissioned
Getting an article commissioned
word-count is therefore the number of words per
line x the number of lines per column x the num-
ber of columns
• the ratio of text to illustrations; the more illustra-
tions, the shorter the article will be
• whether they use case studies and expert heads.
Do they box them out or use them as part of the
article (also known as running copy)?
• the layout – does it tend to be one long article
(running copy) or is there a main piece with lots of
‘boxy’ pieces on the page (case studies and expert
heads, as above, plus contact points, practical tips
and the like)?
• the length of paragraphs and sentences: short or
long?
• the tone (friendly, formal, serious, light-hearted)
and vocabulary.
Identifying the gaps
Most monthly magazines work at least three months
in advance – but there’s still no point in sending
them an idea they covered only two months ago,
unless you’re a regular reader of that publication
and know they cover the same topic very regularly
(in which case you need to make sure you have a
new angle!)
This is where studying back issues comes in handy. It’s
worth keeping a small database – either on index cards,
a computer database package or a spreadsheet –
showing which topics were covered, when, and by
23

Writing Articles and Newsletters
which of your target publications. When you start to
compare competing publications, you’ll be able to see
the topic ‘gaps’ and you’ll be able to work out which
ideas to send to which publication. Note that you’ll
need a new angle for the piece – the publication won’t
use something that’s a direct copy from a rival. (And
direct copying without acknowledgement is known
as plagiarism – you can be sued, so don’t do it! There’s
no copyright on facts but there is on the way they’re
written down.)
Approaching an editor
Now you know what you want to say and who you
want to say it to, it’s time to make your initial ap-
proach.
Contacting the features department
Larger publications have different editors to handle
different sections of the publication – features, health,
cookery, motoring and so forth. Some publications
have a specific ‘commissioning editor’ who works with
freelances. Check the publication’s masthead to find
out who you should speak to. If the editorial staff
aren’t listed, ring the switchboard and ask to speak to
the features department. You need to know:
• who are you talking to? (You’ll need this in your
covering letter or email.)
• does the publication accept freelance contribu-
tions?
24
24
tions?
does the publication accept freelance contribu- •
covering letter or email.)
who are you talking to? (You’ll need this in your •
the features department. You need to know:
aren’t listed, ring the switchboard and ask to speak to
out who you should speak to. If the editorial staff
freelances. Check the publication’s masthead to find
have a specific ‘commissioning editor’ who works with
cookery, motoring and so forth. Some publications
different sections of the publication – features, health,
Larger publications have different editors to handle
Contacting the features department
proach.
want to say it to, it’s time to make your initial ap-
Now you know what you want to say and who you
Approaching an editor
written down.)
no copyright on facts but there is on the way they’re
as plagiarism – you can be sued, so don’t do it! There’s
direct copying without acknowledgement is known
use something that’s a direct copy from a rival. (And
need a new angle for the piece – the publication won’t
ideas to send to which publication. Note that you’ll
the topic ‘gaps’ and you’ll be able to work out which
compare competing publications, you’ll be able to see
which of your target publications. When you start to
Writing Articles and Newsletters
25
• covering letter/email
the basic elements of the package are the same:
Whether you’re submitting your ideas by post or email,
Your submissions package
to cover that for a few months before or after.
articles – about a particular topic and won’t want
‘special’ – a very long article or series of linked
For example, they may already be planning a
• are there any areas they’re specifically avoiding?
childcare?
health, children’s health, allergies, pregnancy and
tor at Health Weekly, are they looking for women’s
For example, if you’re talking to the features edi-
• are they looking for ideas in any broad categories?
two before the planning meeting.
to send ideas for features to the editor a week or
the regular planning meetings are, it’s a good idea
are they planning next)? If you can find out when
• how far ahead are they working (i.e. which issue
proach (e.g. a whole page outline)?
short paragraph per idea, or a more detailed ap-
• how much detail do they want for the ideas – a
or by post?
• how do they prefer to receive contributions – email
job title and always check spellings.
and cuttings to? Ask for the contact’s name and
• if so, who should you send your feature ideas, CV
Getting an article commissioned
Getting an article commissioned
• if so, who should you send your feature ideas, CV
and cuttings to? Ask for the contact’s name and
job title and always check spellings.
• how do they prefer to receive contributions – email
or by post?
• how much detail do they want for the ideas – a
short paragraph per idea, or a more detailed ap-
proach (e.g. a whole page outline)?
• how far ahead are they working (i.e. which issue
are they planning next)? If you can find out when
the regular planning meetings are, it’s a good idea
to send ideas for features to the editor a week or
two before the planning meeting.
• are they looking for ideas in any broad categories?
For example, if you’re talking to the features edi-
tor at Health Weekly, are they looking for women’s
health, children’s health, allergies, pregnancy and
childcare?
• are there any areas they’re specifically avoiding?
For example, they may already be planning a
‘special’ – a very long article or series of linked
articles – about a particular topic and won’t want
to cover that for a few months before or after.
Your submissions package
Whether you’re submitting your ideas by post or email,
the basic elements of the package are the same:
• covering letter/email
25
 26
Writing Articles and Newsletters

• CV

• ideas
[your name]
• copy of cuttings (send by post and make sure the Yours sincerely
photocopies are clear) or web site links (if you’ve SAE.
had articles published on the web) I look forward to hearing from you and enclose an

• SAE (for postal submissions) issue.

Your covering letter
Keep it simple and relevant. A good template is:
Dear [Editor name]
I spoke to your colleague [name of person you spoke
to] in the features department today and [he/she] sug-
gested that I sent in my CV, some cuttings and some
ideas.
[Alternatively, if you spoke to the editor personally:
Thank you for your time on the phone today.]
I enclose a copy of my CV, sample cuttings [list them –
you only need 3 or 4] and some ideas for your [date]
issue.
I look forward to hearing from you and enclose an
SAE.
Yours sincerely
[your name]
you only need 3 or 4] and some ideas for your [date]
I enclose a copy of my CV, sample cuttings [list them –
Thank you for your time on the phone today.]
[Alternatively, if you spoke to the editor personally:
ideas.
gested that I sent in my CV, some cuttings and some
to] in the features department today and [he/she] sug-
I spoke to your colleague [name of person you spoke
Dear [Editor name]
Keep it simple and relevant. A good template is:
Your covering letter
SAE (for postal submissions) •
had articles published on the web)
photocopies are clear) or web site links (if you’ve
copy of cuttings (send by post and make sure the •
ideas •

• CV

Writing Articles and Newsletters

26
27
• your address
• your name
What the editor wants to know is:
isn’t.
accountant but if you’re writing general features it
matters it’s worth mentioning that you’re a qualified
for example, if you’re writing articles on financial
article you’re writing, don’t bother including them –
tions or work experience are relevant to the type of
Again, keep it simple. Unless your academic qualifica-
Your CV
words).
already knows how much he’ll pay per thousand
article (it hasn’t been accepted yet and the editor
• don’t say how much you expect to be paid for the
• don’t say how hard you’ve worked (it’s not relevant)
ents/friends think!)
editor isn’t interested in what your partner/par-
• don’t say what other people have said about it (the
don’t say who’s rejected it before
A few don’ts:
hours on the phone, it’s not worth the editor’s time).
ing to be a pain to work with and want to chat for
jection; your ideas might be brilliant but if you’re go-
therefore irritating (and more likely to net you a re-
wants. Anything else is irrelevant, wastes time and is
Yes, it’s bland – but it gives the information the editor
Getting an article commissioned
Getting an article commissioned
Yes, it’s bland – but it gives the information the editor
wants. Anything else is irrelevant, wastes time and is
therefore irritating (and more likely to net you a re-
jection; your ideas might be brilliant but if you’re go-
ing to be a pain to work with and want to chat for
hours on the phone, it’s not worth the editor’s time).
A few don’ts:
don’t say who’s rejected it before
• don’t say what other people have said about it (the
editor isn’t interested in what your partner/par-
ents/friends think!)
• don’t say how hard you’ve worked (it’s not relevant)
• don’t say how much you expect to be paid for the
article (it hasn’t been accepted yet and the editor
already knows how much he’ll pay per thousand
words).
Your CV
Again, keep it simple. Unless your academic qualifica-
tions or work experience are relevant to the type of
article you’re writing, don’t bother including them –
for example, if you’re writing articles on financial
matters it’s worth mentioning that you’re a qualified
accountant but if you’re writing general features it
isn’t.
What the editor wants to know is:
• your name
• your address
27
 28
Writing Articles and Newsletters

parenting and women’s health arena. Qualified

Freelance for five years, working mainly in the
• your phone/fax/mobile numbers
Work experience
• your email address

• brief paragraph outlining your work experience jane.smith@email.co.uk Email:

(e.g. how long you’ve been a freelance, any rel- 07123 456789 Mobile:
evant work experience or qualifications, your ar-
eas of interest) 01234 567891 Fax:
01234 567890 Phone:
• what you’ve had published. Split it down into cat-
egories, if you can – e.g. if you’ve written health Countyshire, AB1 2CD
1 The Street, Anytown, Address:
articles it could be on alternative health, nutrition,
physical issues and psychological issues; in finance
articles it could be on pensions, general insurance,
CURRICULUM VITAE – Jane Smith
investments, life insurance and other savings ve-
hicles. List your article titles underneath the ap-
propriate headings, together with the publication A good template is:
title and issue date. title and issue date.
A good template is: propriate headings, together with the publication
hicles. List your article titles underneath the ap-
investments, life insurance and other savings ve-
CURRICULUM VITAE – Jane Smith articles it could be on pensions, general insurance,
physical issues and psychological issues; in finance
articles it could be on alternative health, nutrition,
Address: 1 The Street, Anytown,
Countyshire, AB1 2CD
egories, if you can – e.g. if you’ve written health
what you’ve had published. Split it down into cat- •
Phone: 01234 567890
Fax: 01234 567891 eas of interest)
evant work experience or qualifications, your ar-
Mobile: 07123 456789 (e.g. how long you’ve been a freelance, any rel-
Email: jane.smith@email.co.uk brief paragraph outlining your work experience •

your email address •

Work experience
your phone/fax/mobile numbers •
Freelance for five years, working mainly in the
parenting and women’s health arena. Qualified

Writing Articles and Newsletters

28
29
contact details are on each page in case any become
list more than one per page but again make sure your
outlines, that means one paragraph per idea. You can
If the features department said they wanted brief
pert (if appropriate)
• brief outline of case study (if appropriate) or ex-
• concluding paragraph
• bullet points for your main arguments
• introductory paragraph
• title
line is:
missions package). A good structure for a long out-
on each page in case any get separated from your sub-
sure your name and contact number is on the header
lines, put each one on a separate piece of paper (make
If the features department said they wanted long out-
Your ideas
Healthy lunches: Health Weekly, 9.01
Food allergies: Health Weekly, 7.01
Health,nutrition
Natural cold remedies: Health Weekly, 11.01
Aromatherapy shampoo: Health Weekly, 6.01
Insect repellents: Baby Monthly, 5.01
Health, alternative
Articles published
nutritionist and aromatherapist.
Getting an article commissioned
Getting an article commissioned
nutritionist and aromatherapist.
Articles published
Health, alternative
Insect repellents: Baby Monthly, 5.01
Aromatherapy shampoo: Health Weekly, 6.01
Natural cold remedies: Health Weekly, 11.01
Health,nutrition
Food allergies: Health Weekly, 7.01
Healthy lunches: Health Weekly, 9.01
Your ideas
If the features department said they wanted long out-
lines, put each one on a separate piece of paper (make
sure your name and contact number is on the header
on each page in case any get separated from your sub-
missions package). A good structure for a long out-
line is:
• title
• introductory paragraph
• bullet points for your main arguments
• concluding paragraph
• brief outline of case study (if appropriate) or ex-
pert (if appropriate)
If the features department said they wanted brief
outlines, that means one paragraph per idea. You can
list more than one per page but again make sure your
contact details are on each page in case any become
29
 30
Writing Articles and Newsletters

separated from the rest of your submissions package.

A good structure for a short outline is: contact points •
University of Anytown; headshot available)
• title expert head (Sue Heath, lecturer in midwifery, •

• brief outline of what you’re going to cover and 3 years; pics available)
case study (Alice Brown, age 30, children 6 months •
• plus case study, expert head, contacts. hol, chocolate
changes – common ones include coffee, tea, alco-
For example, if you were targeting a parenting maga- aversions are likely to be caused by hormonal •
zine, your short outline might read:
help
food cravings) and when to see your GP for
what’s dangerous and what’s not (i.e. avoid non- •
body needing certain nutrients
Cravings and aversions Causes of craving not known – theory that it’s the •

outline by Jane Smith outline by Jane Smith

• Causes of craving not known – theory that it’s the

Cravings and aversions
body needing certain nutrients
• what’s dangerous and what’s not (i.e. avoid non-
food cravings) and when to see your GP for
help
zine, your short outline might read:
• aversions are likely to be caused by hormonal
For example, if you were targeting a parenting maga-
changes – common ones include coffee, tea, alco-
hol, chocolate plus case study, expert head, contacts. •
• case study (Alice Brown, age 30, children 6 months
and 3 years; pics available) brief outline of what you’re going to cover •

• expert head (Sue Heath, lecturer in midwifery, title •

University of Anytown; headshot available)
• contact points A good structure for a short outline is:
separated from the rest of your submissions package.

Writing Articles and Newsletters

30
31
[your email address]
[your phone number]
[your name]
Kind regards
and I’d be very happy to send you some others.
– if you’ve already commissioned them, let me know
Please find some ideas for the [issue date] issue below
[include the URL for your article on that site].
I’ve also written for [web site name] web site – see
article titles in each]
[bullet point list – publication name plus three or four
I’ve written for the following publications, including:
you some ideas and a rough CV.
partment today and [he/she] suggested that I email
I spoke to your colleague [name] in the features de-
Dear [editor name]
For your initial contact:
just delete your email without reading them.
you may find they’ll regard you as a nuisance and
feedback) before you send the next ones, otherwise
at a time and wait at least a couple of weeks (for
dress, don’t abuse it! Send three or four short ideas
If the features department gives you an email ad-
Covering email
Getting an article commissioned
Getting an article commissioned
Covering email
If the features department gives you an email ad-
dress, don’t abuse it! Send three or four short ideas
at a time and wait at least a couple of weeks (for
feedback) before you send the next ones, otherwise
you may find they’ll regard you as a nuisance and
just delete your email without reading them.
For your initial contact:
Dear [editor name]
I spoke to your colleague [name] in the features de-
partment today and [he/she] suggested that I email
you some ideas and a rough CV.
I’ve written for the following publications, including:
[bullet point list – publication name plus three or four
article titles in each]
I’ve also written for [web site name] web site – see
[include the URL for your article on that site].
Please find some ideas for the [issue date] issue below
– if you’ve already commissioned them, let me know
and I’d be very happy to send you some others.
Kind regards
[your name]
[your phone number]
[your email address]
31

Writing Articles and Newsletters
When to chase
Editors are busy people. If it’s a small magazine, the
editor might have only one – part-time assistant. Either
way, don’t expect an answer by return and don’t pes-
ter – that’s the quickest way to a rejection slip.
If you haven’t heard within a month, either assume
that they didn’t like your ideas (not all editors answer
letters, even if you enclose an SAE) and send some
more, or ring and ask politely if you can have some
feedback on where you went wrong so you can send
something more suitable next time.
Then keep going. It might take time, so persevere (but,
as I said above, don’t pester!).
When an editor approaches you
Some editors like to plan the issue first and commis-
sion out the articles afterwards. If you’re an acknowl-
edged expert in the field, you’ve sent in a CV showing
a good track record or you’ve written articles for that
editor in the past and are now considered a ‘regular
freelance’, the editor might ring you and ask if you
can do such-and-such. They’ll give you a brief, tell you
how many words they need and set you a deadline.
If you can’t do it (due to other deadlines or the fact
you don’t like the subject), say so. It’s better to be up-
front and say you can’t do it than to say yes and then
fail to deliver. But be positive and offer something
new instead.
If you accept the commission, there are two golden
rules:
32
32
rules:
If you accept the commission, there are two golden
new instead.
fail to deliver. But be positive and offer something
front and say you can’t do it than to say yes and then
you don’t like the subject), say so. It’s better to be up-
If you can’t do it (due to other deadlines or the fact
how many words they need and set you a deadline.
can do such-and-such. They’ll give you a brief, tell you
freelance’, the editor might ring you and ask if you
editor in the past and are now considered a ‘regular
a good track record or you’ve written articles for that
edged expert in the field, you’ve sent in a CV showing
sion out the articles afterwards. If you’re an acknowl-
Some editors like to plan the issue first and commis-
When an editor approaches you
as I said above, don’t pester!).
Then keep going. It might take time, so persevere (but,
something more suitable next time.
feedback on where you went wrong so you can send
more, or ring and ask politely if you can have some
letters, even if you enclose an SAE) and send some
that they didn’t like your ideas (not all editors answer
If you haven’t heard within a month, either assume
ter – that’s the quickest way to a rejection slip.
way, don’t expect an answer by return and don’t pes-
editor might have only one – part-time assistant. Either
Editors are busy people. If it’s a small magazine, the
When to chase
Writing Articles and Newsletters
33
• payment terms (usually 30 days after publication;
• fee
• length
• deadline
expert head is needed, any pictures)
any box-outs needed, whether a case study and/or
more detailed brief about the title, the main points,
may be as brief as just the topic name or may be a
• nature of commission (what you’re writing – this
• the issue details (issue date and publication date)
• your address
• your name
The commissioning form will contain:
dard forms about editorial agreements.
written for that company before and signed any stan-
commissioning form, depending on whether you’ve
bly based on the idea you submitted) or send you a
The editor will usually either email you a brief (possi-
Commissioning forms
alternative. Offer solutions, not problems.)
research it – if that’s the case you need to offer an
angle which doesn’t work out when you start to
through. (The editor might have suggested an
• If you have a problem, ring the editor and talk it
• stick to the deadline
Getting an article commissioned
Getting an article commissioned
• stick to the deadline
• If you have a problem, ring the editor and talk it
through. (The editor might have suggested an
angle which doesn’t work out when you start to
research it – if that’s the case you need to offer an
alternative. Offer solutions, not problems.)
Commissioning forms
The editor will usually either email you a brief (possi-
bly based on the idea you submitted) or send you a
commissioning form, depending on whether you’ve
written for that company before and signed any stan-
dard forms about editorial agreements.
The commissioning form will contain:
• your name
• your address
• the issue details (issue date and publication date)
• nature of commission (what you’re writing – this
may be as brief as just the topic name or may be a
more detailed brief about the title, the main points,
any box-outs needed, whether a case study and/or
expert head is needed, any pictures)
• deadline
• length
• fee
• payment terms (usually 30 days after publication;
33

Writing Articles and Newsletters
if the article isn’t used, they will pay you a ‘kill
fee’)
• rights (these may be First British Serial Rights, where
you can then sell the article again to another edi-
tor as long as it’s after a specified amount of time
following publication, and you’ll need to tell the
second editor that you’ve already sold the FBSR);
world periodical rights; rights to reprint without
additional payment in other publications issued or
web site owned by that company. Often an editor
will ask for ‘all rights’.)
• where to send the invoice and any reference you
need to quote in your invoice.
Dealing with rejection
Rejections happen. You might have sold a dozen ar-
ticles to a publication and the editor decides he doesn’t
like your next idea. Don’t take it personally; either the
topic’s already been covered by someone else (remem-
ber, if they have a long lead time and use other
freelancers, someone else might come up with the same
idea as you) or it isn’t what they want right now. So
sulk for a bit, then try the rejected idea on someone
else (making sure you’ve targeted it properly) and send
some new ideas to the editor who’s just rejected you.
Recycling
There’s no copyright in facts so you can write several
different pieces using the same information and sell
it to different markets – as long as you remember to
rephrase what you wrote!
34
34
rephrase what you wrote!
it to different markets – as long as you remember to
different pieces using the same information and sell
There’s no copyright in facts so you can write several
Recycling
some new ideas to the editor who’s just rejected you.
else (making sure you’ve targeted it properly) and send
sulk for a bit, then try the rejected idea on someone
idea as you) or it isn’t what they want right now. So
freelancers, someone else might come up with the same
ber, if they have a long lead time and use other
topic’s already been covered by someone else (remem-
like your next idea. Don’t take it personally; either the
ticles to a publication and the editor decides he doesn’t
Rejections happen. You might have sold a dozen ar-
Dealing with rejection
need to quote in your invoice.
where to send the invoice and any reference you •
will ask for ‘all rights’.)
web site owned by that company. Often an editor
additional payment in other publications issued or
world periodical rights; rights to reprint without
second editor that you’ve already sold the FBSR);
following publication, and you’ll need to tell the
tor as long as it’s after a specified amount of time
you can then sell the article again to another edi-
• rights (these may be First British Serial Rights, where
fee’)
if the article isn’t used, they will pay you a ‘kill
Writing Articles and Newsletters
35
Getting an article commissioned

• Ring the features department to find out if they

Two quick ways of recycling are:
works!).
• changing the angle – e.g. if you’ve written a piece
remember how far in advance the publication
• Identify the topics that haven’t been covered (and
for a fitness magazine about the heart, you can
change the angle slightly for the health pages of a
graphs and sentences, tone and vocabulary.
general interest or women’s magazine about pre-
of case studies and experts, layout, length of para-
venting heart disease; or a piece for a specialist
• Look at your target publication’s style – length, use
magazine can be made into a local piece
use freelancers.
• combining elements of different articles to make
cations cover that sort of topic and whether they
a new one – parts of an article about dairy farm-
sort of subjects you can write about, which publi-
ing and fishing could become a new article about
• Look at what sort of article you want to write, the
the benefits of organic farming and fishing, for
you’ll need to contact the editor for the first time. example.
• Unless you’re an acknowledged expert in your field,

In summary
In summary
• Unless you’re an acknowledged expert in your field,
example. you’ll need to contact the editor for the first time.
the benefits of organic farming and fishing, for
• Look at what sort of article you want to write, the
ing and fishing could become a new article about
sort of subjects you can write about, which publi-
a new one – parts of an article about dairy farm-
cations cover that sort of topic and whether they
• combining elements of different articles to make
use freelancers.
magazine can be made into a local piece
• Look at your target publication’s style – length, use
venting heart disease; or a piece for a specialist
of case studies and experts, layout, length of para-
general interest or women’s magazine about pre-
graphs and sentences, tone and vocabulary.
change the angle slightly for the health pages of a
for a fitness magazine about the heart, you can
• Identify the topics that haven’t been covered (and
remember how far in advance the publication
• changing the angle – e.g. if you’ve written a piece
works!).
Two quick ways of recycling are:
• Ring the features department to find out if they

Getting an article commissioned

35

Writing Articles and Newsletters
accept freelance contributions and, if so, who to
send your ideas to, how much detail they want,
whether they’d prefer email or post, which issue
they’re planning next, which categories they want
to cover (broad terms).
• Prepare your submissions package – a covering let-
ter, your CV (contact details and list of articles pub-
lished), cuttings, ideas (brief paragraph or longer
outlines) and SAE (or, for email, a truncated CV
and a couple of web site article URLs).
• If you haven’t heard within a month, assume a re-
jection – send in more ideas and don’t pester.
• If an editor asks you to write something, stick to
the deadline and discuss any problems straight-
away – it’s OK to refuse a commission but come up
with an alternative!
• The commissioning form will tell you your brief,
fee, payment details, appearance date and dead-
line.
• Don’t take rejections personally – the topic’s either
not right at that point or may have been covered
by someone else (remember lead times!). Try the
idea elsewhere and come up with new ones for
the editor who rejected you.
• Recycle topics by changing your angle or combin-
ing elements from several articles.
36
36
ing elements from several articles.
Recycle topics by changing your angle or combin- •
the editor who rejected you.
idea elsewhere and come up with new ones for
by someone else (remember lead times!). Try the
not right at that point or may have been covered
Don’t take rejections personally – the topic’s either •
line.
fee, payment details, appearance date and dead-
The commissioning form will tell you your brief, •
with an alternative!
away – it’s OK to refuse a commission but come up
the deadline and discuss any problems straight-
If an editor asks you to write something, stick to •
jection – send in more ideas and don’t pester.
If you haven’t heard within a month, assume a re- •
and a couple of web site article URLs).
outlines) and SAE (or, for email, a truncated CV
lished), cuttings, ideas (brief paragraph or longer
ter, your CV (contact details and list of articles pub-
Prepare your submissions package – a covering let- •
to cover (broad terms).
they’re planning next, which categories they want
whether they’d prefer email or post, which issue
send your ideas to, how much detail they want,
accept freelance contributions and, if so, who to
Writing Articles and Newsletters
37
case study as the lead section of an article)
confession/repentance etc.; often you can use a
true life stories (life-changing experiences, •
unusual)
angles here are the odd, the interesting and the
• news stories – about a person or event (the best
them to listen to an argument
the readers’ perception of something or persuade
publication’s readers; they may attempt to change
opinion on topical items that would interest the
• think pieces – factual pieces which give the writer’s
pictures
other people and will usually need illustrations or
tique pewter. The subject must be interesting to
as improving your diet, or how to look after an-
• ‘how to’ articles – i.e. how to do something, such
Articles can usually be split into the following types:
Types of article
Writing articles
3 • news stories – about a person or event (the best
3
Writing articles
Types of article
Articles can usually be split into the following types:
• ‘how to’ articles – i.e. how to do something, such
as improving your diet, or how to look after an-
tique pewter. The subject must be interesting to
other people and will usually need illustrations or
pictures
• think pieces – factual pieces which give the writer’s
opinion on topical items that would interest the
publication’s readers; they may attempt to change
the readers’ perception of something or persuade
them to listen to an argument
angles here are the odd, the interesting and the
unusual)
• true life stories (life-changing experiences,
confession/repentance etc.; often you can use a
case study as the lead section of an article)
37

Writing Articles and Newsletters
• interviews (usually with a celebrity or someone
high-profile)
• reviews
• ‘fillers’ or very short articles, sometimes 50–150
words – these can be anything from humorous an-
ecdotes through to practical tips or even a num-
bered list, such as 3 reasons to get your
blood-pressure checked.
They can also be an amalgam – for example, the
‘Cravings and Aversions’ article for Health Weekly
outlined in the previous chapter is a mixture of these:
it’s a factual article which includes news and a true-
life story.
Features within a feature
Depending on your target publication’s audience and
market sector, their preferred articles might be very
plain (for example, in a learned journal) or they might
be very ‘boxy’, full of lots of little bits of information.
Typical ‘box-outs’ include:
• case studies or anecdotes (see Chapter 4 for more
information)
• expert heads (see Chapter 4)
• quizzes (usually self-scoring)
• practical tips or advice (often numbered or in
alphabetical order – for example 5 ways to avoid
sibling rivalry, 7 things you never knew about
honey, A–Z of uplifting aromatherapy oils)
38
38
honey, A–Z of uplifting aromatherapy oils)
sibling rivalry, 7 things you never knew about
alphabetical order – for example 5 ways to avoid
practical tips or advice (often numbered or in •
quizzes (usually self-scoring) •
expert heads (see Chapter 4) •
information)
case studies or anecdotes (see Chapter 4 for more •
Typical ‘box-outs’ include:
be very ‘boxy’, full of lots of little bits of information.
plain (for example, in a learned journal) or they might
market sector, their preferred articles might be very
Depending on your target publication’s audience and
Features within a feature
life story.
it’s a factual article which includes news and a true-
outlined in the previous chapter is a mixture of these:
‘Cravings and Aversions’ article for Health Weekly
They can also be an amalgam – for example, the
blood-pressure checked.
bered list, such as 3 reasons to get your
ecdotes through to practical tips or even a num-
words – these can be anything from humorous an-
‘fillers’ or very short articles, sometimes 50–150 •
reviews •
high-profile)
interviews (usually with a celebrity or someone •
Writing Articles and Newsletters
39
thing about stress in the run-up to Christmas. The trick
something about sun safety in the summer, and some-
smoking in March (to tie in with No Smoking Day),
pages, for example, there’s always an article about
certain subjects at certain times of the year – in health
Many feature editors know that they’re going to cover
the point you want to make.
The angle of your article depends on the audience and
Angles
birth Trust, for example).
• contact points (NHS Direct and the National Child-
or common aversions)
• practical tips or advice (either dangerous cravings
• expert head (Sue Heath)
• case study (Alice Brown)
would have quite a few potential box-outs:
Our ‘Cravings and Aversions’ article for Health Weekly
features).
tion of where they start and distinguishing
lems, different types of rashes, with a brief descrip-
• illustrated panels (e.g. in an article about skin prob-
or web site)
• contact points (can include phone, address, email
condensing down the main points of the article)
summaries (usually in bullet-point format – • pages, for example, there’s always an article about
• statistics
Writing articles
Writing articles
• statistics
• summaries (usually in bullet-point format –
condensing down the main points of the article)
• contact points (can include phone, address, email
or web site)
• illustrated panels (e.g. in an article about skin prob-
lems, different types of rashes, with a brief descrip-
tion of where they start and distinguishing
features).
Our ‘Cravings and Aversions’ article for Health Weekly
would have quite a few potential box-outs:
• case study (Alice Brown)
• expert head (Sue Heath)
• practical tips or advice (either dangerous cravings
or common aversions)
• contact points (NHS Direct and the National Child-
birth Trust, for example).
Angles
The angle of your article depends on the audience and
the point you want to make.
Many feature editors know that they’re going to cover
certain subjects at certain times of the year – in health
smoking in March (to tie in with No Smoking Day),
something about sun safety in the summer, and some-
thing about stress in the run-up to Christmas. The trick
39

Writing Articles and Newsletters
is to find the new angle – in other words, a way of
telling the story differently, with fresh information.
Tell the audience something they don’t already know.
Ask yourself the following questions:
• what’s the storyline? (subject)
• who’s my audience? (publication, brief description
of readership)
• what point do I want to make? (tells you if your
angle is relevant!)
For our ‘Cravings and Aversions’ article, the answers
would be:
• cravings and aversions in pregnancy
• Health Weekly, aimed at women aged 25–40, C2DE
socio-economic group
• advice on what’s normal and what’s not, and where
to go for help
Some types of angles include:
• controversy
• cutting-edge research
• dramatic story
If our case study, Alice Brown, has had an urge to eat
coal during pregnancy and was ill as a consequence,
that’s a ‘dramatic story’ angle. If Sue Heath has some
new information about why women have cravings,
that’s a ‘cutting-edge research’ angle.
40
40
that’s a ‘cutting-edge research’ angle.
new information about why women have cravings,
that’s a ‘dramatic story’ angle. If Sue Heath has some
coal during pregnancy and was ill as a consequence,
If our case study, Alice Brown, has had an urge to eat
dramatic story •
cutting-edge research •
controversy •
Some types of angles include:
to go for help
• advice on what’s normal and what’s not, and where
socio-economic group
• Health Weekly, aimed at women aged 25–40, C2DE
cravings and aversions in pregnancy •
would be:
For our ‘Cravings and Aversions’ article, the answers
angle is relevant!)
what point do I want to make? (tells you if your •
of readership)
who’s my audience? (publication, brief description •
what’s the storyline? (subject) •
Ask yourself the following questions:
Tell the audience something they don’t already know.
telling the story differently, with fresh information.
is to find the new angle – in other words, a way of
Writing Articles and Newsletters
41
the readers skim your article and concentrate on the
they go across the head of the paragraph). They help
of the column above a paragraph (hence the name –
Crossheads are simply subtitles placed in the middle
Crossheads
at the end, for example Coal nearly killed my baby!
• ‘screamer’ – this is usually with an exclamation mark
• pun
• quote (or twist it slightly)
Can you live on £10 a week?
• question (or provocative statement) – for example,
pension
• label – for example, How to get the most from your
The most common sorts of headlines are:
short as possible.
Your headline needs to make an impact. Keep it as
at headlines. (See Chapter 6.)
or web site, your editor will appreciate any attempts
Though if you’re producing an article for a newsletter
check your home insurance cover’s up to date)
be fit for life, How to train for a marathon, How to
editor what your article is about is fine. (20 ways to
at a publication. A basic factual title which tells the
liant headline – that’s part of the job of the sub-editors
Don’t worry too much about coming up with a bril-
Headlines
Writing articles
Writing articles
Headlines
Don’t worry too much about coming up with a bril-
liant headline – that’s part of the job of the sub-editors
at a publication. A basic factual title which tells the
editor what your article is about is fine. (20 ways to
be fit for life, How to train for a marathon, How to
check your home insurance cover’s up to date)
Though if you’re producing an article for a newsletter
or web site, your editor will appreciate any attempts
at headlines. (See Chapter 6.)
Your headline needs to make an impact. Keep it as
short as possible.
The most common sorts of headlines are:
• label – for example, How to get the most from your
pension
• question (or provocative statement) – for example,
Can you live on £10 a week?
• quote (or twist it slightly)
• pun
• ‘screamer’ – this is usually with an exclamation mark
at the end, for example Coal nearly killed my baby!
Crossheads
Crossheads are simply subtitles placed in the middle
of the column above a paragraph (hence the name –
they go across the head of the paragraph). They help
the readers skim your article and concentrate on the
41
 42
Writing Articles and Newsletters

• questions (provoke the audience; make them think)

areas that interest them most.
feature)
As with headlines, you don’t need to think them up statements (the most common type of start for a •
yourself for magazine articles – this is part of the sub-
editor’s role – though you may need to produce them Good ways of starting include:
for web sites and newsletters.
The rule of thumb is to keep them as short as possible
best bit of information).
(one line of a column). They’re usually labels.
• tell the reader something new and interesting (your

Opening paragraph
means)
say how the story will affect the reader (what it •
The opening paragraph is what hooks your audience
convey the essence of the story •
and persuades them to read on, so it needs to grab
their attention. It should:
it’ll be cluttered)
to come (only one point – if you try to say too much
• be short and to the point
tell the reader what the topic is and hint at what’s •
• tell the reader what the topic is and hint at what’s
be short and to the point •
to come (only one point – if you try to say too much
it’ll be cluttered)
their attention. It should:
and persuades them to read on, so it needs to grab
• convey the essence of the story
The opening paragraph is what hooks your audience
• say how the story will affect the reader (what it Opening paragraph
means)

• tell the reader something new and interesting (your

best bit of information).
Good ways of starting include:
• statements (the most common type of start for a
feature)
• questions (provoke the audience; make them think)
(one line of a column). They’re usually labels.
The rule of thumb is to keep them as short as possible
for web sites and newsletters.
editor’s role – though you may need to produce them
yourself for magazine articles – this is part of the sub-
As with headlines, you don’t need to think them up
areas that interest them most.

Writing Articles and Newsletters

42
43
• introduction
In news stories, the structure should be:
important information is at the end.
information and then the next most, until the least
structure – you start with the most important piece of
sequence. This is sometimes known as the ‘pyramid’
points you want to make, then put them in a logical
For your first draft, write down the bare bones of the
self what the audience needs or wants to know next.
A good way of developing body copy is to ask your-
tion and amplifies it.
is the informative section. It explains your introduc-
The middle of your article is known as body copy and
Body copy
you need to be bold too
Take the tone from your publication – if they’re bold
colourful).
– make the audience feel as if they’re there, be
• description/scene-setting (feature, rather than news
it has to grab attention)
• anecdotes (usually an oblique start so be careful –
it use reported speech)
magazines than newspapers; if your editor hates
quotes (always attribute them – also better for
• specifics rather than generalisations
• startling facts
Writing articles
Writing articles
• startling facts
• specifics rather than generalisations
• quotes (always attribute them – also better for
magazines than newspapers; if your editor hates
it use reported speech)
• anecdotes (usually an oblique start so be careful –
it has to grab attention)
• description/scene-setting (feature, rather than news
– make the audience feel as if they’re there, be
colourful).
Take the tone from your publication – if they’re bold
you need to be bold too
Body copy
The middle of your article is known as body copy and
is the informative section. It explains your introduc-
tion and amplifies it.
A good way of developing body copy is to ask your-
self what the audience needs or wants to know next.
For your first draft, write down the bare bones of the
points you want to make, then put them in a logical
sequence. This is sometimes known as the ‘pyramid’
structure – you start with the most important piece of
• information and then the next most, until the least
important information is at the end.
In news stories, the structure should be:
• introduction
43
 44
Writing Articles and Newsletters

statistics and facts can be dull so illustrate them – •

• retelling introduction with more information
• further information (including background) and
quote.
In features, the structure should be:
rectly
• use the latest information and attribute quotes cor-
your statements are supported by a reliable source
check out any facts at least twice – and check that •

• introduction teresting to the reader

vary your paragraph lengths to make it more in- •
• context paragraph
thought.
• scope of the article/why the audience should read develops it, and the final sentence rounds off the
on tence is the main thought, the next one (or two)
stick to one thought per paragraph. The first sen- •
• main body copy (logical order)
try to get the 5 Ws in as quickly as possible •
• conclusion.
Tips for body copy:
Tips for body copy:
conclusion. •
• try to get the 5 Ws in as quickly as possible
main body copy (logical order) •
• stick to one thought per paragraph. The first sen-
tence is the main thought, the next one (or two) on
develops it, and the final sentence rounds off the scope of the article/why the audience should read •
thought.
context paragraph •
• vary your paragraph lengths to make it more in-
teresting to the reader introduction •

• check out any facts at least twice – and check that In features, the structure should be:
your statements are supported by a reliable source
quote.
• use the latest information and attribute quotes cor- further information (including background) and •
rectly
retelling introduction with more information •
• statistics and facts can be dull so illustrate them –

Writing Articles and Newsletters

44
45
• stockist details, if appropriate.
• opening hours, if appropriate
• phone, email and web site details
• name of the organisation
in a box-out – and your audience will need to know:
They’re usually placed at the end of the article – often
and stockists of a product mentioned in the article.
such as professional organisations, self-help groups
These are where the reader can go for more help –
Using contact points
point – something for the reader to take away.
Quotes are good, especially if they embody your main
duction, and use your second-best bit of information.
for impact; keep the conclusion as short as the intro-
So let the reader go away with something new. Go
whether or not to read it.
and last paragraphs of an article and then decide
peat the introduction. Some readers look at the first
This needs to tie up with the beginning but don’t re-
Closing paragraph
‘very’ big.
tics as well. Be specific – state exactly how big, not
compare them with something but give the statis-
Writing articles
Writing articles
compare them with something but give the statis-
tics as well. Be specific – state exactly how big, not
‘very’ big.
Closing paragraph
This needs to tie up with the beginning but don’t re-
peat the introduction. Some readers look at the first
and last paragraphs of an article and then decide
whether or not to read it.
So let the reader go away with something new. Go
for impact; keep the conclusion as short as the intro-
duction, and use your second-best bit of information.
Quotes are good, especially if they embody your main
point – something for the reader to take away.
Using contact points
These are where the reader can go for more help –
such as professional organisations, self-help groups
and stockists of a product mentioned in the article.
They’re usually placed at the end of the article – often
in a box-out – and your audience will need to know:
• name of the organisation
• phone, email and web site details
• opening hours, if appropriate
• stockist details, if appropriate.
45
 46
Writing Articles and Newsletters

For the article-writer, anything is a source of ideas!

Presentation of your manuscript Where to get ideas
Your editor might ask for hard copy (meaning the
paper copy) or email, or possibly both.
typing) before you send it off
If you’re sending hard copy, make sure:
you’ve checked your copy for errors (factual and •
• it’s printed on letter-quality print (with a new rib-
(never use a staple or a pin)
bon or decent ink cartridge!) on A4 paper
• you’ve used a paperclip to keep the pages together
• it’s double spaced (i.e. has a blank line between
line between paragraphs (don’t mix them!)
each line of text)
full out to the left-hand side and leave a blank
• it has a 2cm margin on all sides of the paper first line of each paragraph, or start each paragraph
your paragraphs are consistent – either indent the •
• it has consecutive page numbers, your name and
the article title or subject (as an identifier) in the page
top right-hand corner it has the article title and your name on the first •

• it has the article title and your name on the first
page
• your paragraphs are consistent – either indent the
first line of each paragraph, or start each paragraph
full out to the left-hand side and leave a blank
line between paragraphs (don’t mix them!)
• you’ve used a paperclip to keep the pages together
(never use a staple or a pin)
• you’ve checked your copy for errors (factual and
typing) before you send it off
Where to get ideas
For the article-writer, anything is a source of ideas!
top right-hand corner
the article title or subject (as an identifier) in the
it has consecutive page numbers, your name and •
it has a 2cm margin on all sides of the paper •
each line of text)
it’s double spaced (i.e. has a blank line between •
bon or decent ink cartridge!) on A4 paper
it’s printed on letter-quality print (with a new rib- •
If you’re sending hard copy, make sure:
paper copy) or email, or possibly both.
Your editor might ask for hard copy (meaning the
Presentation of your manuscript

Writing Articles and Newsletters

46
47
– www.prnewswire.co.uk).
newsnow – www.newsnow.co.uk and PR newswire
• check out clippings, wire and news services (e.g.
then ‘journalism’)
on your usual browser under ‘news and media’,
as www.journalismuk.co.uk (to find others, look
• check out news sources on resource web sites such
self-help group sites in your area of interest
• check the ‘news’ or PR pages of professional and
Internet
fit the bill, ask to go on their mailing list
areas of interest and, if they have other clients who
experts or product samples before; tell them your
• ring PR companies who’ve given you case studies,
freelance journalist
ests you and ask to go on their mailing list as a
commercial organisations in the area that inter-
• ring support groups, professional organisations and
Press releases
Good sources of newsy ideas include:
subject but have a different angle.
swered – your article would therefore cover the same
questions about the subject that haven’t been an-
Or you might read an article and feel you still have
workers and people who drive.
of people – for example, back pain affecting office
suddenly realise it’s a topic that affects a certain group
You could be talking with friends about a subject and
Writing articles
Writing articles
You could be talking with friends about a subject and
suddenly realise it’s a topic that affects a certain group
of people – for example, back pain affecting office
workers and people who drive.
Or you might read an article and feel you still have
questions about the subject that haven’t been an-
swered – your article would therefore cover the same
subject but have a different angle.
Good sources of newsy ideas include:
Press releases
• ring support groups, professional organisations and
commercial organisations in the area that inter-
ests you and ask to go on their mailing list as a
freelance journalist
• ring PR companies who’ve given you case studies,
experts or product samples before; tell them your
areas of interest and, if they have other clients who
fit the bill, ask to go on their mailing list
Internet
• check the ‘news’ or PR pages of professional and
self-help group sites in your area of interest
• check out news sources on resource web sites such
as www.journalismuk.co.uk (to find others, look
on your usual browser under ‘news and media’,
then ‘journalism’)
• check out clippings, wire and news services (e.g.
newsnow – www.newsnow.co.uk and PR newswire
– www.prnewswire.co.uk).
47
 48
Writing Articles and Newsletters

it – use a pyramid structure for news (most impor-

In summary Body copy explains the introduction and amplifies •

than generalise.
• Types of article include: ‘how to’, think pieces, news
anecdote or scene-setting – but be specific rather
stories, true life stories, interviews, reviews and
statement, a question, a startling fact, a quote, an
fillers.
tion, are short and to the point. Start with a
Opening paragraphs hook the reader, grab atten- •
• Typical box-outs include case studies, anecdotes,
expert heads, quizzes, practical tips or advice, sta-
usually labels. Keep them short.
tistics, summaries, contact points, illustrated pan-
trate on the areas that interest them most; they’re
els.
Crossheads are subtitles that help readers concen- •
• The angle depends on the audience and the point
vocative statement, quote, pun, ‘screamer’.
you want to make.
Types of headline include label, question or pro- •
• Tell the audience something they don’t already
what point do you want to make?
know.
ence – what’s the storyline, who’s your audience,
Check if you have the right angle for your audi- •
• Check if you have the right angle for your audi-
ence – what’s the storyline, who’s your audience,
know.
what point do you want to make?
Tell the audience something they don’t already •
• Types of headline include label, question or pro-
you want to make.
vocative statement, quote, pun, ‘screamer’.
The angle depends on the audience and the point •
• Crossheads are subtitles that help readers concen-
els.
trate on the areas that interest them most; they’re
tistics, summaries, contact points, illustrated pan-
usually labels. Keep them short.
expert heads, quizzes, practical tips or advice, sta-
Typical box-outs include case studies, anecdotes, •
• Opening paragraphs hook the reader, grab atten-
tion, are short and to the point. Start with a
fillers.
statement, a question, a startling fact, a quote, an
stories, true life stories, interviews, reviews and
anecdote or scene-setting – but be specific rather
• Types of article include: ‘how to’, think pieces, news
than generalise.

• Body copy explains the introduction and amplifies In summary

it – use a pyramid structure for news (most impor-

Writing Articles and Newsletters

48
49
services).
(news/PR pages, resource sites, clippings/wire/news
organisations, PR companies) and the internet
groups, professional organisations, commercial
• Good sources of news include press releases (support
errors before you send it off.
paperclip to keep pages together, and check it for
ticle title and your name on the first page, use a
2cm margins, number the pages and put the ar-
cartridge on A4 paper, using double spacing and
• Print your article with a new ribbon or decent ink
details.
phone, opening times, email, web site and stockist
more information – include the name, address,
• Contacts points are where the reader can go for
pact.
information (your second-best piece). Aim for im-
– don’t repeat the introduction but bring in new
• The closing paragraph ties up with the beginning
• Attribute quotes correctly.
• Use the latest information.
• Check your facts.
length of your sentences and paragraphs.
• Stick to one thought per paragraph and vary the
features.
tant information first) and a logical sequence for
Writing articles
Writing articles
tant information first) and a logical sequence for
features.
• Stick to one thought per paragraph and vary the
length of your sentences and paragraphs.
• Check your facts.
• Use the latest information.
• Attribute quotes correctly.
• The closing paragraph ties up with the beginning
– don’t repeat the introduction but bring in new
information (your second-best piece). Aim for im-
pact.
• Contacts points are where the reader can go for
more information – include the name, address,
phone, opening times, email, web site and stockist
details.
• Print your article with a new ribbon or decent ink
cartridge on A4 paper, using double spacing and
2cm margins, number the pages and put the ar-
ticle title and your name on the first page, use a
paperclip to keep pages together, and check it for
errors before you send it off.
• Good sources of news include press releases (support
groups, professional organisations, commercial
organisations, PR companies) and the internet
(news/PR pages, resource sites, clippings/wire/news
services).
49
51

• clubs

• professional organisations

• special-interest groups

4
know. Other sources of case studies include:
Depending on your story, you could ask people you
Where to find case studies
Case studies
can relate to it.
to use a local case study, if possible, so the audience
and experts
If you are using a local story it’s even more important
the average reader identify with your subject
lustrates the point you’re making in the article. It helps Case studies
A case study is simply someone whose experience il-
A case study is simply someone whose experience il-
Case studies lustrates the point you’re making in the article. It helps
the average reader identify with your subject
If you are using a local story it’s even more important
to use a local case study, if possible, so the audience
and experts can relate to it.

Case studies
Where to find case studies
4 Depending on your story, you could ask people you
know. Other sources of case studies include:

• special-interest groups

• professional organisations

• clubs

51

Writing Articles and Newsletters
• support or self-help groups
• PR companies (particularly if your story features a
product or service).
For example, if you were writing a piece about ec-
zema and wanted to include a case study who had
discovered that certain foods made their eczema
worse, you could contact the press office of a national
body such as the National Eczema Society. If you
wanted a case study who had used a specific
complementary or alternative remedy which helped the
condition, you could contact the press office (or media
liaison officer) of national bodies, asking if a therapist
could help you find an appropriate case study. Bear in
mind patient confidentiality – the therapist would need
to ask the patient first and then ask the patient to con-
tact you. Or you could try the press office (or PR com-
pany) of the company making a certain type of cream.
Experts
Experts are useful at illustrating points you have made.
They’re also good at coming up with extra informa-
tion you might not get elsewhere.
Some magazines ask for ‘expert heads’ – that’s simply
a boxed-out section of the article where your expert
comments on one or two particular points, and the
box usually contains a head-and-shoulders picture
(known as a ‘head shot’) of the expert.
Where to find experts
Good sources of experts include:
52
52
Good sources of experts include:
Where to find experts
(known as a ‘head shot’) of the expert.
box usually contains a head-and-shoulders picture
comments on one or two particular points, and the
a boxed-out section of the article where your expert
Some magazines ask for ‘expert heads’ – that’s simply
tion you might not get elsewhere.
They’re also good at coming up with extra informa-
Experts are useful at illustrating points you have made.
Experts
pany) of the company making a certain type of cream.
tact you. Or you could try the press office (or PR com-
to ask the patient first and then ask the patient to con-
mind patient confidentiality – the therapist would need
could help you find an appropriate case study. Bear in
liaison officer) of national bodies, asking if a therapist
condition, you could contact the press office (or media
complementary or alternative remedy which helped the
wanted a case study who had used a specific
body such as the National Eczema Society. If you
worse, you could contact the press office of a national
discovered that certain foods made their eczema
zema and wanted to include a case study who had
For example, if you were writing a piece about ec-
product or service).
PR companies (particularly if your story features a •
support or self-help groups •
Writing Articles and Newsletters
53
Experts are more used to dealing with the media but
and you’ll only use quotes with their permission.
are not trying to make them look silly or dramatic,
ease – empathise with them, reassure them that you
and may be nervous. You need to put your subject at
Case studies aren’t used to dealing with the media
Interviewing techniques
pared to give you some quotes.
national bodies, asking if a therapist would be pre-
contact the press office (or media liaison contact) of
you wanted to focus on a specific therapy, you could
local hospital or the PR department of a university. If
the Department of Health, the PR department of your
as the National Eczema Society, your local office of
zema piece, you could contact a professional body such
ments about causes, treatments or statistics in the ec-
For example, if you wanted to include an expert’s com-
www.profnet.com).
as well as Europe – contact them at
university offices in the US and North America
• PR organisations such as Profnet (linking you to
• University PR offices
available)
product or service – they often have spokespeople
• PR companies (particularly if your story features a
• support or self-help groups
• professional organisations
• special-interest groups
Case studies and experts
Case studies and experts
• special-interest groups
• professional organisations
• support or self-help groups
• PR companies (particularly if your story features a
product or service – they often have spokespeople
available)
• University PR offices
• PR organisations such as Profnet (linking you to
university offices in the US and North America
as well as Europe – contact them at
www.profnet.com).
For example, if you wanted to include an expert’s com-
ments about causes, treatments or statistics in the ec-
zema piece, you could contact a professional body such
as the National Eczema Society, your local office of
the Department of Health, the PR department of your
local hospital or the PR department of a university. If
you wanted to focus on a specific therapy, you could
contact the press office (or media liaison contact) of
national bodies, asking if a therapist would be pre-
pared to give you some quotes.
Interviewing techniques
Case studies aren’t used to dealing with the media
and may be nervous. You need to put your subject at
ease – empathise with them, reassure them that you
are not trying to make them look silly or dramatic,
and you’ll only use quotes with their permission.
Experts are more used to dealing with the media but
53

Writing Articles and Newsletters
some may have had a bad experience in the past, so
be polite rather than blasé!
Arranging the interview
Your interview can be in person, by phone or –
depending on the arrangement you have with your
interviewee – an emailed list of questions.
If you want to tape the interview (this isn’t manda-
tory), ask permission first.
If the interview is by phone, make sure you ring at the
right time – if something crops up and you can’t make
the interview, always ring as soon as you can to rear-
range it.
If the interview is in person, aim for a place that’s quiet
(so you can hear the answers!) and where you won’t
be interrupted.
Make sure the interviewee knows:
• who you are
• the subject of your article
• the angle you’re taking (and why you want to talk
to them)
• when and where the article is due to appear (ex-
perts in particular like to know what the reader-
ship of the publication is – this gives them an idea
of the readership’s familiarity with the subject and
how to pitch what they tell you).
54
54
how to pitch what they tell you).
of the readership’s familiarity with the subject and
ship of the publication is – this gives them an idea
perts in particular like to know what the reader-
when and where the article is due to appear (ex- •
to them)
the angle you’re taking (and why you want to talk •
the subject of your article •
who you are •
Make sure the interviewee knows:
be interrupted.
(so you can hear the answers!) and where you won’t
If the interview is in person, aim for a place that’s quiet
range it.
the interview, always ring as soon as you can to rear-
right time – if something crops up and you can’t make
If the interview is by phone, make sure you ring at the
tory), ask permission first.
If you want to tape the interview (this isn’t manda-
interviewee – an emailed list of questions.
depending on the arrangement you have with your
Your interview can be in person, by phone or –
Arranging the interview
be polite rather than blasé!
some may have had a bad experience in the past, so
Writing Articles and Newsletters
55
tionship.
colleague) again, so you need to build up a good rela-
Be polite – you may wish to talk to this expert (or a
Conducting the interview
• preferably ones that only your interviewee can answer.
ent again from the trade press)
of a monthly consumer magazine, which is differ-
audience will have a different interest from that
(note that if you’re writing for a daily paper, your
relevant to what your audience wants to know • covering who/what/when/where/why and how. Aim
• precise
answer!)
• open-ended (i.e. they need more than a one-word
Your questions should be:
might change the focus of your article entirely.
mation that could make a follow-up article, or that
talking – but be flexible as you may learn new infor-
for a list of around 20 which will keep your subject
covering who/what/when/where/why and how. Aim
either already have the background or the questions
Write down your list of questions, making sure you
ily elsewhere.
subject) or where you could find the information eas-
has been interviewed many times before on the same
been answered before (particularly if your interviewee
you’re not asking standard questions that have already
having to repeat any information and will make sure
Do your research first – this saves your interviewee
Preparing for the interview
Case studies and experts
Case studies and experts
Preparing for the interview
Do your research first – this saves your interviewee
having to repeat any information and will make sure
you’re not asking standard questions that have already
been answered before (particularly if your interviewee
has been interviewed many times before on the same
subject) or where you could find the information eas-
ily elsewhere.
Write down your list of questions, making sure you
either already have the background or the questions
for a list of around 20 which will keep your subject
talking – but be flexible as you may learn new infor-
mation that could make a follow-up article, or that
might change the focus of your article entirely.
Your questions should be:
• open-ended (i.e. they need more than a one-word
answer!)
• precise
• relevant to what your audience wants to know
(note that if you’re writing for a daily paper, your
audience will have a different interest from that
of a monthly consumer magazine, which is differ-
ent again from the trade press)
• preferably ones that only your interviewee can answer.
Conducting the interview
Be polite – you may wish to talk to this expert (or a
colleague) again, so you need to build up a good rela-
tionship.
55

Writing Articles and Newsletters
Go through your list of questions or talk through the
main points in a logical way. Listen for points that need
expanding and note follow-up questions. Listen to the
answers – if they answer a question later in your list,
don’t ask a second time unless you want something
clarified.
Ask for more detail if you need it. And always ask if
you don’t understand anything – it’s much better to
do this than to look foolish later when the sub-editor
checks your copy and finds you’ve got it all wrong!
Remember, if you don’t understand something your
audience isn’t likely to either. Check spellings of names,
places and technical phrases, and how your inter-
viewee wants to be referred to (e.g. from our ‘Cravings
and Aversions’ article, Sue Heath could be ‘senior lec-
turer in midwifery at the University of Anytown’ or
‘midwife’. And are you sure it’s the University of
Anytown and not Anytown University?)
Once you’ve covered your questions (and you’re sure
you have the 5 Ws and an H), thank your interviewee
for his time and ask if he has anything to add.
After the interview
Send your interviewee a note to thank them for their
time. (Good relationship-building, again.)
Double-check your facts to make sure they’re correct
– and also to rule out potential cases of libel.
If you’ve promised to send your interviewee a copy of
the article, make sure you do so.
56
56
the article, make sure you do so.
If you’ve promised to send your interviewee a copy of
– and also to rule out potential cases of libel.
Double-check your facts to make sure they’re correct
time. (Good relationship-building, again.)
Send your interviewee a note to thank them for their
After the interview
for his time and ask if he has anything to add.
you have the 5 Ws and an H), thank your interviewee
Once you’ve covered your questions (and you’re sure
Anytown and not Anytown University?)
‘midwife’. And are you sure it’s the University of
turer in midwifery at the University of Anytown’ or
and Aversions’ article, Sue Heath could be ‘senior lec-
viewee wants to be referred to (e.g. from our ‘Cravings
places and technical phrases, and how your inter-
audience isn’t likely to either. Check spellings of names,
Remember, if you don’t understand something your
checks your copy and finds you’ve got it all wrong!
do this than to look foolish later when the sub-editor
you don’t understand anything – it’s much better to
Ask for more detail if you need it. And always ask if
clarified.
don’t ask a second time unless you want something
answers – if they answer a question later in your list,
expanding and note follow-up questions. Listen to the
main points in a logical way. Listen for points that need
Go through your list of questions or talk through the
Writing Articles and Newsletters
57
of staff, so try to keep your information up to date.
In media and PR, there’s often a very quick turnaround
product or service).
• PR companies (particularly if your story features a
fessional organisations, support or self-help groups
• press liaison officers for special-interest groups, pro-
• experts
• editors
databases for:
information quickly. You may like to have separate
base or on index cards, where you can retrieve the
different piece in the future. Keep them on a data-
their contact names – you may need to use them for a
Keep a note of who you speak to, where they are and
Contacts database
before the article appears.
editor has the final say so the words might change
tails, but make sure your interviewee realises that the
this in case you’ve misunderstood any technical de-
before you submit it. It’s actually a good idea to do
they may be wary and want to see the final piece
misquoted them to suit the angle of the piece – so
ences in the past – for example, a journalist may have
Some experts and case studies have had bad experi-
Whose article is it, anyway?
Case studies and experts
Case studies and experts
Whose article is it, anyway?
Some experts and case studies have had bad experi-
ences in the past – for example, a journalist may have
misquoted them to suit the angle of the piece – so
they may be wary and want to see the final piece
before you submit it. It’s actually a good idea to do
this in case you’ve misunderstood any technical de-
tails, but make sure your interviewee realises that the
editor has the final say so the words might change
before the article appears.
Contacts database
Keep a note of who you speak to, where they are and
their contact names – you may need to use them for a
different piece in the future. Keep them on a data-
base or on index cards, where you can retrieve the
information quickly. You may like to have separate
databases for:
• editors
• experts
• press liaison officers for special-interest groups, pro-
fessional organisations, support or self-help groups
• PR companies (particularly if your story features a
product or service).
In media and PR, there’s often a very quick turnaround
of staff, so try to keep your information up to date.
57

Writing Articles and Newsletters
In summary
• A case study is someone whose experience illus-
trates the point you’re making in the article; good
sources include special-interest groups, profes-
sional organisations, clubs, support or self-help
groups and PR companies.
• Experts are useful at illustrating points you’ve made
and giving new information. Good sources include
special-interest groups, professional organisations,
support or self-help groups, PR companies, univer-
sity PR offices and PR organisations.
• Interviews can be in person, by phone or by email.
Be on time and avoid interruptions. The inter-
viewee will need to know who you are, the sub-
ject of your article, the angle you’re taking (and
why you want to talk to them), and when and
where the article is due to appear.
• Do your research first.
• Write down your list of questions, covering the
background and the ‘5Ws and an H’ – but be flex-
ible.
• Make your questions open-ended, precise and rel-
evant.
• Go through your list of questions or talk through
the main points in a logical way. Listen for points
that need expanding and note follow-up questions.
Ask for more detail if you need it or if you don’t
understand something.
58
58
understand something.
Ask for more detail if you need it or if you don’t
that need expanding and note follow-up questions.
the main points in a logical way. Listen for points
Go through your list of questions or talk through •
evant.
Make your questions open-ended, precise and rel- •
ible.
background and the ‘5Ws and an H’ – but be flex-
Write down your list of questions, covering the •
Do your research first. •
where the article is due to appear.
why you want to talk to them), and when and
ject of your article, the angle you’re taking (and
viewee will need to know who you are, the sub-
Be on time and avoid interruptions. The inter-
Interviews can be in person, by phone or by email. •
sity PR offices and PR organisations.
support or self-help groups, PR companies, univer-
special-interest groups, professional organisations,
and giving new information. Good sources include
• Experts are useful at illustrating points you’ve made
groups and PR companies.
sional organisations, clubs, support or self-help
sources include special-interest groups, profes-
trates the point you’re making in the article; good
A case study is someone whose experience illus- •
In summary
Writing Articles and Newsletters
59
Case studies and experts

• Check spellings of names, places and technical

phrases.

• Ask if the interviewee wants to add anything.

• Double-check your facts.

• Let the interviewee see the piece to make any fac-

tual changes but explain that the editor has the
final say.

• Keep a contacts database – and keep it up to date!

• Keep a contacts database – and keep it up to date!

final say.
tual changes but explain that the editor has the
• Let the interviewee see the piece to make any fac-

• Double-check your facts.

• Ask if the interviewee wants to add anything.

phrases.
Check spellings of names, places and technical •

Case studies and experts

59
61

Boston Spa, Wetherby, West Yorkshire LS23 7BY.

Library – the Legal Deposit Office, British Library,
lation, by law you should send a copy to the British
If you produce a regular newsletter with a large circu-
• professional groups.

help staff morale)

plier/distributor – for marketing purposes and to #
• businesses (internal or ‘in-house’, customer, sup-

• schools, clubs, hobbies and special-interest groups Producing newsletters

Generally, newsletters are used for:
publication that may even carry adverts.
(perhaps folded in half) through to a glossy full-colour
The format can vary widely, from a single sheet of A4
A newsletter is basically a set of information that’s
readers feel part of a larger community. not easily available elsewhere; and it should help its
not easily available elsewhere; and it should help its readers feel part of a larger community.
A newsletter is basically a set of information that’s
The format can vary widely, from a single sheet of A4
(perhaps folded in half) through to a glossy full-colour
publication that may even carry adverts.
Generally, newsletters are used for:

Producing newsletters • schools, clubs, hobbies and special-interest groups

• businesses (internal or ‘in-house’, customer, sup-

# plier/distributor – for marketing purposes and to
help staff morale)

• professional groups.
If you produce a regular newsletter with a large circu-
lation, by law you should send a copy to the British
Library – the Legal Deposit Office, British Library,
Boston Spa, Wetherby, West Yorkshire LS23 7BY.

61

Writing Articles and Newsletters
Where does your newsletter fit in?
This is where the ‘5 Ws and an H’ come in again.
• why do you want to produce a newsletter? (the
aims)
• who are you talking to? (the audience)
• what does the audience want to know and what
kind of topics are you going to cover? (content)
• where else do your readers get their information?
(content again – important, because if what you’re
covering is already available elsewhere, your news-
letter will be redundant)
• when are you going to produce it? (frequency)
• how are your readers going to receive it? (format
and distribution).
As long as you’re sure there’s a need for your newslet-
ter (particularly if you’re expecting people to pay for
it), you can start to plan your newsletter.
Aims of your newsletter
This depends in part on your audience. Write a list of
your aims, then put them in order of importance and
have the top three in mind when you plan your news-
letter.
Your aims could include:
• giving information (e.g. dates of future events for
your club, the cost and who to contact for tickets)
62
62
your club, the cost and who to contact for tickets)
giving information (e.g. dates of future events for •
Your aims could include:
letter.
have the top three in mind when you plan your news-
your aims, then put them in order of importance and
This depends in part on your audience. Write a list of
Aims of your newsletter
it), you can start to plan your newsletter.
ter (particularly if you’re expecting people to pay for
As long as you’re sure there’s a need for your newslet-
and distribution).
how are your readers going to receive it? (format •
when are you going to produce it? (frequency) •
letter will be redundant)
covering is already available elsewhere, your news-
(content again – important, because if what you’re
where else do your readers get their information? •
kind of topics are you going to cover? (content)
what does the audience want to know and what •
who are you talking to? (the audience) •
aims)
why do you want to produce a newsletter? (the •
This is where the ‘5 Ws and an H’ come in again.
Where does your newsletter fit in?
Writing Articles and Newsletters
63
ducing a newsletter for a playgroup, ask a few mums
find out what they’d like to read about. If you’re pro-
in-house staff newsletter, talk to your colleagues to
much the better – for example, if you’re producing an
If you can do some audience research beforehand, so
The content
• what they’re expecting from your newsletter.
where they’re likely to read it
when they’re likely to see your newsletter and
education, interests)
socio-economic grouping and lifestyle (income,
• gender
• age
at:
fect your format, content, tone and vocabulary. Look
Who are they and what do they expect? This will af-
Your audience
• increasing business.
• marketing aid
• establishing a community
in business strategy and their likely effect on staff)
• passing on important news (for example, changes
Producing newsletters
Producing newsletters
• passing on important news (for example, changes
in business strategy and their likely effect on staff)
• establishing a community
• marketing aid
• increasing business.
Your audience
• Who are they and what do they expect? This will af-
fect your format, content, tone and vocabulary. Look
at:
•
• age
• gender
• socio-economic grouping and lifestyle (income,
education, interests)
• when they’re likely to see your newsletter and
where they’re likely to read it
• what they’re expecting from your newsletter.
The content
If you can do some audience research beforehand, so
much the better – for example, if you’re producing an
in-house staff newsletter, talk to your colleagues to
find out what they’d like to read about. If you’re pro-
ducing a newsletter for a playgroup, ask a few mums
63

Writing Articles and Newsletters
what they’d like to see in it. You could try sending out
a questionnaire to your readers or potential audience
(though you may find the response is low unless you
offer an incentive), or simply ask the questions face-
to-face and note the answers on a tick-sheet (or any
other format that’s easy to analyse quickly).
Where else do they get their information? How can
you make it quicker and easier for them? Ask yourself
what added value your newsletter is going to bring.
Are there any items that will be a regular feature of
your newsletter? For example:
• contents page
• contact information (for example, for a gym’s news-
letter, class times and costs, how to book and who
to contact)
• what’s on
• note from the chair/editor/figure of authority
• regular columns
• competition
• ‘stop press’ – snippets of news that you’ll cover in
more detail in the next issue.
You need a regular and consistent structure so your
readers can find their way round the newsletter eas-
ily. Think about the newspapers and magazines you
usually read – you can turn to the horoscopes page,
the TV page, the weather report or the ‘what’s on lo-
cally’ guide without even thinking about it. Your read-
ers need to be just as familiar with your newsletter.
64
64
ers need to be just as familiar with your newsletter.
cally’ guide without even thinking about it. Your read-
the TV page, the weather report or the ‘what’s on lo-
usually read – you can turn to the horoscopes page,
ily. Think about the newspapers and magazines you
readers can find their way round the newsletter eas-
You need a regular and consistent structure so your
more detail in the next issue.
‘stop press’ – snippets of news that you’ll cover in •
competition •
regular columns •
note from the chair/editor/figure of authority •
what’s on •
to contact)
letter, class times and costs, how to book and who
• contact information (for example, for a gym’s news-
contents page •
your newsletter? For example:
Are there any items that will be a regular feature of
what added value your newsletter is going to bring.
you make it quicker and easier for them? Ask yourself
Where else do they get their information? How can
other format that’s easy to analyse quickly).
to-face and note the answers on a tick-sheet (or any
offer an incentive), or simply ask the questions face-
(though you may find the response is low unless you
a questionnaire to your readers or potential audience
what they’d like to see in it. You could try sending out
Writing Articles and Newsletters
65
Colour is expensive, especially for very short print
they would rather spend funds on the charity work.
heavy newsletter because it looks expensive and
the weight. A charity’s unlikely to need a glossy,
envelopes and the postage costs will depend on
sending it out by mail it needs to fit standard-size
and distributed and partly on the contents. If you’re
tations, partly on how it’s going to be produced
This will depend partly on your audience’s expec-
• the format – the look and feel of the newsletter.
tegic sites such as a club room or shop
drop’ where the audience can pick it up from stra-
• how it’s distributed – by hand, by mail or by ‘bulk
together
long it takes to print and how long it takes to put
pend on how the newsletter is distributed, how
pends on your audience’s needs; it may also de-
• how frequently it’s going to be published. This de-
Look at:
Production issues
your readers.
ter for information that’s only interesting to some of
turn to this first. Use the second half of the newslet-
then use the first half of the newsletter, as readers
‘hotspots’ of the newsletter. If those spaces are full,
the back or in the centre pages, as these are the
The most important material should go on the front,
the next issue.
page 6 in this issue, it needs to be in the same place in
For example, if your ‘future events’ slot appears on
Producing newsletters
Producing newsletters
For example, if your ‘future events’ slot appears on
page 6 in this issue, it needs to be in the same place in
the next issue.
The most important material should go on the front,
the back or in the centre pages, as these are the
‘hotspots’ of the newsletter. If those spaces are full,
then use the first half of the newsletter, as readers
turn to this first. Use the second half of the newslet-
ter for information that’s only interesting to some of
your readers.
Production issues
Look at:
• how frequently it’s going to be published. This de-
pends on your audience’s needs; it may also de-
pend on how the newsletter is distributed, how
long it takes to print and how long it takes to put
together
• how it’s distributed – by hand, by mail or by ‘bulk
drop’ where the audience can pick it up from stra-
tegic sites such as a club room or shop
• the format – the look and feel of the newsletter.
This will depend partly on your audience’s expec-
tations, partly on how it’s going to be produced
and distributed and partly on the contents. If you’re
sending it out by mail it needs to fit standard-size
envelopes and the postage costs will depend on
the weight. A charity’s unlikely to need a glossy,
heavy newsletter because it looks expensive and
they would rather spend funds on the charity work.
Colour is expensive, especially for very short print
65

Writing Articles and Newsletters
runs – if you’re only producing 100 newsletters you
might find it costs too much to do it in full colour.
Think about:
• the number and size of pages; it can be any size
you like but A5 and A4 are the most common and
practical sizes; the size depends on your audience’s
expectations but it’s best to stick to 1, 2 or a mul-
tiple of 4 pages for ease and cheapness of produc-
tion.
• whether it’s black and white (mono), has one
or two additional colours (e.g. for titles or illustra-
tions) or is full-colour
• the quality and weight of paper; lower quality
means you need to be careful with illustrations be-
cause the ink tends to ‘bleed’ on the paper, whereas
paper of a higher quality and weight costs more
and may break your budget
• illustrations – photographs or line drawings?
• are you going to include advertisements? If so,
your advertisers will want to know how many cop-
ies are produced, how frequently, and the target
audience
• the design or layout (see page 71 for more de-
tails).
The printer
If your newsletter and circulation are very small, you
might be able to produce the newsletter yourself, with
a desktop publishing package and a photocopier. If
it’s bigger (and needs ‘stitching’ or stapling together),
has glossy production values (full colour and lots of
pictures on heavy, quality paper) or has a large circu-
lation, you’ll need to use a printer.
Most towns have a quick-stop print shop. If your
66
66
Most towns have a quick-stop print shop. If your
lation, you’ll need to use a printer.
pictures on heavy, quality paper) or has a large circu-
has glossy production values (full colour and lots of
it’s bigger (and needs ‘stitching’ or stapling together),
a desktop publishing package and a photocopier. If
might be able to produce the newsletter yourself, with
If your newsletter and circulation are very small, you
The printer
tails).
• the design or layout (see page 71 for more de-
audience
ies are produced, how frequently, and the target
your advertisers will want to know how many cop-
• are you going to include advertisements? If so,
• illustrations – photographs or line drawings?
and may break your budget
paper of a higher quality and weight costs more
cause the ink tends to ‘bleed’ on the paper, whereas
means you need to be careful with illustrations be-
• the quality and weight of paper; lower quality
tions) or is full-colour
or two additional colours (e.g. for titles or illustra-
• whether it’s black and white (mono), has one
tion.
tiple of 4 pages for ease and cheapness of produc-
expectations but it’s best to stick to 1, 2 or a mul-
practical sizes; the size depends on your audience’s
you like but A5 and A4 are the most common and
• the number and size of pages; it can be any size
Think about:
might find it costs too much to do it in full colour.
runs – if you’re only producing 100 newsletters you
Writing Articles and Newsletters
67
diately afterwards
you use it with the abbreviation in brackets imme-
to your readers, write it out in full the first time
• abbreviations – for example, unless it’s well-known
cludes:
your newsletter consistent. House style usually in-
ticles submitted to your newsletter. This will help make
abbreviations, capital letters and the like in any ar-
contributors or editors about the format of words,
The ‘house style’ is a set of guidelines which tells any
House style
letter can be printed.
you’ll return with any corrections, and then your news-
The printer will then give you a set of proofs, which
• a deadline (negotiate this up front).
files and a library copy)
on half a dozen for spares – including one for your
• a note of how many copies you need (always add
• any artwork
(they can typeset it for you, but this costs more)
• the copy, either on disk or in a form he can scan in
need a design guide)
will do, or if it’s a completely new newsletter he’ll
• a style guide (a previous copy of the newsletter
What the printer needs from you is:
your local college if they can do the job for you.
budget’s tight, it’s also worth asking the print unit at
Producing newsletters
Producing newsletters
budget’s tight, it’s also worth asking the print unit at
your local college if they can do the job for you.
What the printer needs from you is:
• a style guide (a previous copy of the newsletter
will do, or if it’s a completely new newsletter he’ll
need a design guide)
• the copy, either on disk or in a form he can scan in
(they can typeset it for you, but this costs more)
• any artwork
• a note of how many copies you need (always add
on half a dozen for spares – including one for your
files and a library copy)
• a deadline (negotiate this up front).
The printer will then give you a set of proofs, which
you’ll return with any corrections, and then your news-
letter can be printed.
House style
The ‘house style’ is a set of guidelines which tells any
contributors or editors about the format of words,
abbreviations, capital letters and the like in any ar-
ticles submitted to your newsletter. This will help make
your newsletter consistent. House style usually in-
cludes:
• abbreviations – for example, unless it’s well-known
to your readers, write it out in full the first time
you use it with the abbreviation in brackets imme-
diately afterwards
67

Writing Articles and Newsletters
• capital letters – for example, used only for proper
nouns (trade names, company names) but not job
titles; specify whether the first word of an article
will be set in capitals
• dates – in full or in numbers? Day or month first?
E.g. 1 January 2002, January 1st 2002, 1.1.02
• italics – for example, used only for publication
names and foreign words
• measurements – for example, space or no space
between the unit and the measurement: 5cm or 5
cm?
• numbers – for example, written in full up to 20
and thereafter in numbers; use of % or per cent
• speechmarks – decide whether you’ll use double
(“he said”) or single (‘he said’) and this will also
tell you how to deal with quotes within quotes
(double within single or single within double, e.g.
“What do you mean by ‘now’?” he asked.)
• spellings – e.g. -ize or -ise endings, judgement or
judgment, -ed or -t endings for past tense of verbs
such as lean or learn.
Typeface
Typefaces fall into two basic types:
serif faces
These have curly bits round the edges and are best for
68
68
These have curly bits round the edges and are best for
serif faces
Typefaces fall into two basic types:
Typeface
such as lean or learn.
judgment, -ed or -t endings for past tense of verbs
spellings – e.g. -ize or -ise endings, judgement or •
“What do you mean by ‘now’?” he asked.)
(double within single or single within double, e.g.
tell you how to deal with quotes within quotes
(“he said”) or single (‘he said’) and this will also
speechmarks – decide whether you’ll use double •
and thereafter in numbers; use of % or per cent
numbers – for example, written in full up to 20 •
cm?
between the unit and the measurement: 5cm or 5
measurements – for example, space or no space •
names and foreign words
italics – for example, used only for publication •
E.g. 1 January 2002, January 1st 2002, 1.1.02
dates – in full or in numbers? Day or month first? •
will be set in capitals
titles; specify whether the first word of an article
nouns (trade names, company names) but not job
capital letters – for example, used only for proper •
Writing Articles and Newsletters
69
round them.
pages and between issues) and how the text will work
the size and typeface, so they’re the same between
space you’ll use for the headlines (be consistent with
your pictures will fit, how big they’ll be, how much
number of columns you want, then work out where
of your newsletter. Simply divide your page into the
A grid is simply an easy way to help you with the ‘look’
Grid layout
tals are much harder to read!
Always use upper and lower case for headlines – capi-
This is a sans serif font called Arial
pact.
are good for headlines as they’re clear and have im-
These don’t have any curls – like this typeface – and
sans serif faces
This is a serif font called Times New Roman
publications use serif typefaces for body copy.
long pieces of text as they’re easier to read. Many
Producing newsletters
Producing newsletters
long pieces of text as they’re easier to read. Many
publications use serif typefaces for body copy.
This is a serif font called Times New Roman
sans serif faces
These don’t have any curls – like this typeface – and
are good for headlines as they’re clear and have im-
pact.
This is a sans serif font called Arial
Always use upper and lower case for headlines – capi-
tals are much harder to read!
Grid layout
A grid is simply an easy way to help you with the ‘look’
of your newsletter. Simply divide your page into the
number of columns you want, then work out where
your pictures will fit, how big they’ll be, how much
space you’ll use for the headlines (be consistent with
the size and typeface, so they’re the same between
pages and between issues) and how the text will work
round them.
69

Writing Articles and Newsletters
Put the important text on the top half of your pages –
this is where the reader looks first.
One column
This is very simple and basic, best used for A5-sized
newsletters. All articles span the width of the page.
For example:
This is a single-column newsletter page
And this is the body text to give you an idea of what it
looks like. This is the body text to give you an idea of
what it looks like. This is the body text to give you an
idea of what it looks like.
Subhead goes across here
And this is the body text to give you an idea of what it
looks like. This is the body text to give you an idea of
what it looks like. This is the body text to give you an
idea of what it looks like.
Two columns
Simply as it sounds – the text is in two columns on
each page. It’s more flexible than a single-column grid
and means you can make more interesting ‘shapes’. It
can be used for A5 and A4-sized newsletters.
70
70
can be used for A5 and A4-sized newsletters.
and means you can make more interesting ‘shapes’. It
each page. It’s more flexible than a single-column grid
Simply as it sounds – the text is in two columns on
Two columns
idea of what it looks like.
what it looks like. This is the body text to give you an
looks like. This is the body text to give you an idea of
And this is the body text to give you an idea of what it
Subhead goes across here
idea of what it looks like.
what it looks like. This is the body text to give you an
looks like. This is the body text to give you an idea of
And this is the body text to give you an idea of what it
This is a single-column newsletter page
For example:
newsletters. All articles span the width of the page.
This is very simple and basic, best used for A5-sized
One column
this is where the reader looks first.
Put the important text on the top half of your pages –
Writing Articles and Newsletters
71
Producing newsletters

textan idea like. This is

here
picture
the body what it looks This is a two-column newsletter page
another
like. This is an idea of And this is the
and
what it looks to give you body text to give picture goes
an idea of the body text you an idea of here
This is the to give you And this is what it looks
looks like. the body text Subhead like. This is the
of what it body text to give And this is the
you an idea you an idea of body text to
text to give what it looks give you an
the body here like. This is the idea of what it
And this is picture goes give you an idea looks like. This
Headline of what it looks is the body text
This is a three-column newsletter page
Three columns
would be too narrow). The text is on three columns on each page which makes
newsletters (the columns on an A5-sized newsletter it even more versatile – you can have pictures span-
ning one or two columns. It’s best used for A4-sized ning one or two columns. It’s best used for A4-sized
it even more versatile – you can have pictures span- newsletters (the columns on an A5-sized newsletter
The text is on three columns on each page which makes would be too narrow).
Three columns
This is a three-column newsletter page
is the body text of what it looks Headline
looks like. This give you an idea picture goes And this is
idea of what it like. This is the here the body
give you an what it looks text to give
body text to you an idea of you an idea
And this is the body text to give of what it
like. This is the Subhead the body text looks like.
what it looks And this is to give you This is the
here you an idea of the body text an idea of
and
picture goes body text to give to give you what it looks
another
And this is the an idea of like. This is
picture
newsletter page This is a two-column what it looks the body
here
like. This is textan idea

Producing newsletters
71

Writing Articles and Newsletters
Illustrations
Illustrations in your newsletter depend on your bud-
get, the resources you have in-house, the paper you
use and whether you’re using colour.
The type of illustrations you could use include:
• photographs (glossy photographs reproduce bet-
ter than matt; check that it has good tone rather
than appearing ‘muddy’)
• diagrams
• charts (they must have clear labels and contrasting
colours so they’re easy to read)
• tables (must have clear labels and the figures must
be big enough to read)
• drawings (must be clear).
The illustration must be relevant to the story it ac-
companies and it also needs to be interesting, if it’s to
grab the reader’s attention. Is the story about some-
one handing a cheque over to your charity? The tradi-
tional ‘handshake’ photo is boring. What did they do
to raise the money? If it was a sponsored slim, could
you have a picture of the weight-losers next to a moun-
tain of sugar equivalent to the weight they lost? Make
it visual!
Keep it simple, too, so you don’t clutter the pages.
Too many different sorts of items on a page – shaded
panels, boxes and the like – can make your newsletter
look ‘bitty’ and amateur.
72
72
look ‘bitty’ and amateur.
panels, boxes and the like – can make your newsletter
Too many different sorts of items on a page – shaded
Keep it simple, too, so you don’t clutter the pages.
it visual!
tain of sugar equivalent to the weight they lost? Make
you have a picture of the weight-losers next to a moun-
to raise the money? If it was a sponsored slim, could
tional ‘handshake’ photo is boring. What did they do
one handing a cheque over to your charity? The tradi-
grab the reader’s attention. Is the story about some-
companies and it also needs to be interesting, if it’s to
The illustration must be relevant to the story it ac-
drawings (must be clear). •
be big enough to read)
tables (must have clear labels and the figures must •
colours so they’re easy to read)
charts (they must have clear labels and contrasting •
diagrams •
than appearing ‘muddy’)
ter than matt; check that it has good tone rather
photographs (glossy photographs reproduce bet- •
The type of illustrations you could use include:
use and whether you’re using colour.
get, the resources you have in-house, the paper you
Illustrations in your newsletter depend on your bud-
Illustrations
Writing Articles and Newsletters
73
Producing newsletters

the newsletter Nameplates

• the name and address of the business publishing
cation. It shows:
The masthead usually appears at the back of a publi-
Mastheads
Your nameplate is basically what your newsletter is
called. It’s always at the top of the first page (on the
front cover) and it includes:
• the name of the publication

• a line describing it

• the issue number and date.

Issue 16, May 2002
A newsletter for Anytown Playgroup’s parents
Playdays
this:
The next issue’s nameplate might look something like
years – three terms x five years means fifteen issues.
to Anytown Playgroup. Say it’s been going for five
called Playdays for the parents of children belonging
For example, you might produce a termly newsletter
For example, you might produce a termly newsletter
called Playdays for the parents of children belonging
to Anytown Playgroup. Say it’s been going for five
years – three terms x five years means fifteen issues.
The next issue’s nameplate might look something like
this:
Playdays
A newsletter for Anytown Playgroup’s parents
Issue 16, May 2002

• the issue number and date.

• a line describing it

• the name of the publication Mastheads

front cover) and it includes:
called. It’s always at the top of the first page (on the
Your nameplate is basically what your newsletter is
Nameplates
The masthead usually appears at the back of a publi-
cation. It shows:
• the name and address of the business publishing
the newsletter

Producing newsletters
73
 74
Writing Articles and Newsletters

• the editor’s name and contact details and whether there’s a need for it.
frequency and distribution to see where it fits in
• the purpose of the publication Look at your newsletter’s aims, audience, content, •

• deadline dates for the next issue. tion.

a single black and white sheet to a glossy publica-
So the masthead for our playgroup newsletter might part of a larger community; its format varies from
read: ily available elsewhere and helps its readers feel
A newsletter contains information that’s not eas- •

Playdays In summary
A termly newsletter for the parents of children
attending Anytown Playgroup
Published by Anytown Playgroup, 1 Church Street,
Anytown AB1 2CD
Editor: Jane Smith, tel 01234 567890
Copy deadline for next issue: September 1
Copy deadline for next issue: September 1
Editor: Jane Smith, tel 01234 567890
Anytown AB1 2CD
Published by Anytown Playgroup, 1 Church Street,
attending Anytown Playgroup
A termly newsletter for the parents of children
In summary Playdays

• A newsletter contains information that’s not eas-

ily available elsewhere and helps its readers feel read:
part of a larger community; its format varies from So the masthead for our playgroup newsletter might
a single black and white sheet to a glossy publica-
tion. deadline dates for the next issue. •

• Look at your newsletter’s aims, audience, content, the purpose of the publication •
frequency and distribution to see where it fits in
and whether there’s a need for it. the editor’s name and contact details •

Writing Articles and Newsletters

74
75
letter consistent.
your preferred format – this helps keeps the news-
• Develop a house style to tell contributors about
letter will be printed.
have a proof, which you can correct, and the news-
many copies you need and the deadline. You’ll then
copy and artwork, marked-up hard copy, how
• If you use a printer, he’ll need a style guide, the
clude advertisements?
use, what size it is and is it colour? Will you in-
mail or ‘bulk drop’? What type of paper will you
the newsletter? Are you distributing it by hand,
• How frequently does your audience need to see
half.
tant to some of your readers goes in the second
the first half, and information that’s only impor-
or centre pages; the next most important goes in
• Put the most important material on the front, back
structure.
lar features to help build a regular and consistent
the audience what they want. Consider using regu-
• What added value does your newsletter have? Ask
lary.
determine your format, content, tone and vocabu-
what they expect from your newsletter; this will
• Consider your audience’s age, gender, lifestyle and
marketing aid or increasing business.
on important news, establishing a community, a
• The aims may include giving information, passing
Producing newsletters
Producing newsletters
• The aims may include giving information, passing
on important news, establishing a community, a
marketing aid or increasing business.
• Consider your audience’s age, gender, lifestyle and
what they expect from your newsletter; this will
determine your format, content, tone and vocabu-
lary.
• What added value does your newsletter have? Ask
the audience what they want. Consider using regu-
lar features to help build a regular and consistent
structure.
• Put the most important material on the front, back
or centre pages; the next most important goes in
the first half, and information that’s only impor-
tant to some of your readers goes in the second
half.
• How frequently does your audience need to see
the newsletter? Are you distributing it by hand,
mail or ‘bulk drop’? What type of paper will you
use, what size it is and is it colour? Will you in-
clude advertisements?
• If you use a printer, he’ll need a style guide, the
copy and artwork, marked-up hard copy, how
many copies you need and the deadline. You’ll then
have a proof, which you can correct, and the news-
letter will be printed.
• Develop a house style to tell contributors about
your preferred format – this helps keeps the news-
letter consistent.
75
 76
Writing Articles and Newsletters

• Use serif faces for body copy and sans serif faces
for headlines.

• Do you need one, two or three columns? (One is

best for A5 and two or three are more flexible for
larger formats.)

• Illustrations must be clear, relevant and attention-

grabbing!

• The nameplate goes at the front and includes the

newsletter name, who it’s for, the issue number
and date.

• The masthead goes at the back and includes the

name and address of the organisation or business
publishing the newsletter, the editor’s name and
contact details, the purpose of the publication and
deadline dates for the next issue.
deadline dates for the next issue.
contact details, the purpose of the publication and
publishing the newsletter, the editor’s name and
name and address of the organisation or business
The masthead goes at the back and includes the •

and date.
newsletter name, who it’s for, the issue number
The nameplate goes at the front and includes the •

grabbing!
Illustrations must be clear, relevant and attention- •

larger formats.)
best for A5 and two or three are more flexible for
Do you need one, two or three columns? (One is •

for headlines.
Use serif faces for body copy and sans serif faces •

Writing Articles and Newsletters

76
77

needs a consistent frequency. If you produce one in

As well as having a consistent layout, your newsletter
Planning the schedule

and whether their expectations change at all.

6
they’re getting what they want from your newsletter
You also need to be aware of your audience, whether

Writing and editing

• how the articles are written.

• the order of articles

• what to leave out newsletters

• what to include

you have. You also need to think about: The editor’s job
Editing isn’t just about making articles fit the space
Editing isn’t just about making articles fit the space
The editor’s job you have. You also need to think about:

• what to include

newsletters • what to leave out

• the order of articles

Writing and editing
• how the articles are written.
6 You also need to be aware of your audience, whether
they’re getting what they want from your newsletter
and whether their expectations change at all.

Planning the schedule

As well as having a consistent layout, your newsletter
needs a consistent frequency. If you produce one in

77

Writing Articles and Newsletters
January and one in April, your readers will expect the
next one in July. If you produce it in May instead, then
one in August, then one in September, they won’t
know what to expect and you’ll lose their goodwill. If
you’re going to produce a quarterly newsletter, make
it quarterly. If you change from monthly to every two
months, that’s fine – as long as you tell the audience
so they know what to expect.
When you’re planning your newsletter, start at the
delivery date and work backwards. How long does
each task take? This gives you your ‘latest date’ for
the previous task, until you reach the start. Then sim-
ply turn your list into chronological order and you have
your schedule.
With most newsletters, the tasks include:
• ideas meeting
• article writing
• articles in for editing and layout
• disk and artwork to printer
• proofreading and corrections
• delivery from printer to distribution agent
• delivery to reader
So the schedule for our playgroup could read:
78
78
So the schedule for our playgroup could read:
delivery to reader •
delivery from printer to distribution agent •
proofreading and corrections •
disk and artwork to printer •
articles in for editing and layout •
article writing •
ideas meeting •
With most newsletters, the tasks include:
your schedule.
ply turn your list into chronological order and you have
the previous task, until you reach the start. Then sim-
each task take? This gives you your ‘latest date’ for
delivery date and work backwards. How long does
When you’re planning your newsletter, start at the
so they know what to expect.
months, that’s fine – as long as you tell the audience
it quarterly. If you change from monthly to every two
you’re going to produce a quarterly newsletter, make
know what to expect and you’ll lose their goodwill. If
one in August, then one in September, they won’t
next one in July. If you produce it in May instead, then
January and one in April, your readers will expect the
Writing Articles and Newsletters
79
Writing and editing newsletters

• asking readers to contribute

Playdays newsletter schedule – March issue
tations!)
Task Time needed Date
• paying a freelance (remember your budgetary limi-
Ideas meeting (3 weeks for 14
Or you might ask for contributions. This means: writing articles) January
case have another look at Chapters 3 and 4. Articles in for edit- 1 week 4
might be the writer as well as the editor – in which ing February
advertising agency) to produce the newsletter, you
to pay an external agency (either a PR or full service Disk and artwork 2 weeks 11
This is a big question. If your organisation can’t afford to printer February

Who’s going to write the articles? Proofreading and 2 days 25

corrections February

Delivery from prin- 2 days 27

1 March 2 days Delivery to reader ter to distribution February
agent
agent
February ter to distribution Delivery to reader 2 days 1 March
27 Delivery from prin- 2 days

February corrections
25 2 days Proofreading and Who’s going to write the articles?
February to printer This is a big question. If your organisation can’t afford
11 2 weeks Disk and artwork to pay an external agency (either a PR or full service
advertising agency) to produce the newsletter, you
February ing might be the writer as well as the editor – in which
4 Articles in for edit- 1 week case have another look at Chapters 3 and 4.
January writing articles) Or you might ask for contributions. This means:
14 (3 weeks for Ideas meeting
• paying a freelance (remember your budgetary limi-
Date needed Task Time
tations!)
Playdays newsletter schedule – March issue
• asking readers to contribute

Writing and editing newsletters

79

Writing Articles and Newsletters
• asking other members of your organisation’s com-
mittee/staff in your office to write an article.
Some people are delighted to have the chance of see-
ing their words in print. Others are terrified, thinking
they’re not good enough because they can’t spell and
their grammar’s terrible (which is where you, as the
editor, come in – you’ll be sorting that out for them).
There’s also the apathy factor: particularly if you’re
editing a newsletter as part of your role on a small
committee, you’ll probably find that the same old
people turn up to help – and getting new helpers is
like pulling teeth. Getting contributions to a newslet-
ter is even harder!
So – how do you get people to contribute, and what
do you need to tell them in advance?
How to get contributors
Assuming you can’t pay for contributions – so using a
freelance is out of the equation – you’ll need to ask
colleagues or fellow club members for contributions.
Try offering a title – ‘specialist correspondent’ – and
the boost to their self-esteem will help persuade them
to contribute. Small token payments can also help.
Or put an advert in your newsletter, telling your mem-
bers which areas of expertise you need – ‘wanted: book
reviewer’ for the Playdays newsletter, or ‘wanted: craft
ideas for the next newsletter’. Make sure potential
contributors know your contact details and deadline
date.
80
80
date.
contributors know your contact details and deadline
ideas for the next newsletter’. Make sure potential
reviewer’ for the Playdays newsletter, or ‘wanted: craft
bers which areas of expertise you need – ‘wanted: book
Or put an advert in your newsletter, telling your mem-
to contribute. Small token payments can also help.
the boost to their self-esteem will help persuade them
Try offering a title – ‘specialist correspondent’ – and
colleagues or fellow club members for contributions.
freelance is out of the equation – you’ll need to ask
Assuming you can’t pay for contributions – so using a
How to get contributors
do you need to tell them in advance?
So – how do you get people to contribute, and what
ter is even harder!
like pulling teeth. Getting contributions to a newslet-
people turn up to help – and getting new helpers is
committee, you’ll probably find that the same old
editing a newsletter as part of your role on a small
There’s also the apathy factor: particularly if you’re
editor, come in – you’ll be sorting that out for them).
their grammar’s terrible (which is where you, as the
they’re not good enough because they can’t spell and
ing their words in print. Others are terrified, thinking
Some people are delighted to have the chance of see-
mittee/staff in your office to write an article.
asking other members of your organisation’s com- •
Writing Articles and Newsletters
81
• targeting – it’s aimed at the right audience (look
Once the article is in, you can check the following:
Editing contributions
prose has been changed, so you’ll need to be tactful!
non-professional contributors often feel hurt that their
whereas professional writers are used to being edited,
to edit their words to fit the issue and remember that
guide their writing style. Explain that you may need
They’ll also need a copy of your house style sheet to
• and, if there’s a fee, how much it is.
• how many words you want
want it on paper, email or disk)
• where to send their contribution (and whether you
• when you want it (the deadline)
perts, contact points and the like)
and whether you want to include case studies, ex-
the topic, exactly which issues you want covered,
you want to be more specific, brief them about
• what – the topic you want them to write about (if
the audience)
ber, for example, and therefore they already know
less they’re another club member or staff mem-
• who – the target audience of your publication (un-
Your contributors will need to know:
Briefing contributors
Writing and editing newsletters
Writing and editing newsletters
Briefing contributors
Your contributors will need to know:
• who – the target audience of your publication (un-
less they’re another club member or staff mem-
ber, for example, and therefore they already know
the audience)
• what – the topic you want them to write about (if
you want to be more specific, brief them about
the topic, exactly which issues you want covered,
and whether you want to include case studies, ex-
perts, contact points and the like)
• when you want it (the deadline)
• where to send their contribution (and whether you
want it on paper, email or disk)
• how many words you want
• and, if there’s a fee, how much it is.
They’ll also need a copy of your house style sheet to
guide their writing style. Explain that you may need
to edit their words to fit the issue and remember that
whereas professional writers are used to being edited,
non-professional contributors often feel hurt that their
prose has been changed, so you’ll need to be tactful!
Editing contributions
Once the article is in, you can check the following:
• targeting – it’s aimed at the right audience (look
81

Writing Articles and Newsletters
at the tone and vocabulary)
• logic – it makes sense; if there’s any confusion in
the article, check with the writer and change it
• accuracy – always check facts and numbers because
it’s easy to make a typing mistake and hard to spot
it!
• consistency – check that the article meets your
house style and deals with figures, names and de-
tails consistently (e.g. if the article talks about Mr
Bloggs until the last paragraph and then switches
to ‘Joe’, it’s not consistent)
• balance – are both sides of an argument treated
fairly? If it’s one-sided, do you need to balance this
contributon with another article?
• legality – is anything libellous? Has any copyright
been infringed (e.g. quotes that haven’t had per-
mission from the copyright owner)? If you have
the right to publish the material, it’s balanced and
it’s unlikely to offend friends or colleagues, you’re
probably safe.
You’ll also need to check that it fits the space you’ve
allocated to it. If it’s too long, you’ll need to cut (flow-
ery language is a good place to start!) If it’s too short,
you’ll need to put in some cross-heads to break up the
text and bulk out the length.
Headlines and crossheads
The headline is the article title and it aims to ‘hook’
the reader. The cross-head is a kind of subtitle which
82
82
the reader. The cross-head is a kind of subtitle which
The headline is the article title and it aims to ‘hook’
Headlines and crossheads
text and bulk out the length.
you’ll need to put in some cross-heads to break up the
ery language is a good place to start!) If it’s too short,
allocated to it. If it’s too long, you’ll need to cut (flow-
You’ll also need to check that it fits the space you’ve
probably safe.
it’s unlikely to offend friends or colleagues, you’re
the right to publish the material, it’s balanced and
mission from the copyright owner)? If you have
been infringed (e.g. quotes that haven’t had per-
legality – is anything libellous? Has any copyright •
contributon with another article?
fairly? If it’s one-sided, do you need to balance this
balance – are both sides of an argument treated •
to ‘Joe’, it’s not consistent)
Bloggs until the last paragraph and then switches
tails consistently (e.g. if the article talks about Mr
house style and deals with figures, names and de-
consistency – check that the article meets your •
it!
it’s easy to make a typing mistake and hard to spot
• accuracy – always check facts and numbers because
the article, check with the writer and change it
logic – it makes sense; if there’s any confusion in •
at the tone and vocabulary)
Writing Articles and Newsletters
83
more concise.
use jargon, and don’t use lots of words if you can be
Keep your writing simple – write as you’d speak, don’t
graphs and structured outlines.
That means short sentences, understandable para-
Remember to keep it ABC – accurate, brief and clear.
Chapter 3 about how to write articles.
If you’re writing the article yourself, refer back to
Writing the articles
label, question, quote, pun, screamer
• remember the types of headline from Chapter 3 –
witty?
something formal, something chatty, something
• keep your audience in mind – are they expecting
or two for crossheads)
• keep it short (5 words if possible for headlines, one
• keep it relevant
• make an impact
Rules for headlines and crossheads
good titles.
As the newsletter editor, it’s your job to come up with
goes above a paragraph.
Writing and editing newsletters
Writing and editing newsletters
goes above a paragraph.
As the newsletter editor, it’s your job to come up with
good titles.
Rules for headlines and crossheads
• make an impact
• keep it relevant
• keep it short (5 words if possible for headlines, one
or two for crossheads)
• keep your audience in mind – are they expecting
something formal, something chatty, something
witty?
• remember the types of headline from Chapter 3 –
label, question, quote, pun, screamer
Writing the articles
If you’re writing the article yourself, refer back to
Chapter 3 about how to write articles.
Remember to keep it ABC – accurate, brief and clear.
That means short sentences, understandable para-
graphs and structured outlines.
Keep your writing simple – write as you’d speak, don’t
use jargon, and don’t use lots of words if you can be
more concise.
83

Writing Articles and Newsletters
Getting feedback
Are you giving your audience what they want? To
make sure, you need to get feedback. Ways of doing
this include:
• a letters page – the letters they send in will give
you a good idea of the sort of changes you need
to make, if any
• a competition – if you don’t get many entries and
the prize is something your audience is interested
in, the chances are they’re not reading. Time to do
more research.
• questionnaire or survey – depending on your cir-
culation, you could send out the questionnaire or
survey to all your readers or just a proportion (say,
one in ten). Response tends to be low so you’ll need
an incentive to boost it, e.g. every entry going into
a draw. Keep the questions short and relevant –
what do you need to know?
In summary
• The editor makes the articles fit the space avail-
able and thinks about what to include, what to
leave out, the order of articles and how the ar-
ticles are written.
• Your newsletter needs a consistent structure and
frequency.
• When planning the newsletter, set a realistic
84
84
When planning the newsletter, set a realistic •
frequency.
Your newsletter needs a consistent structure and •
ticles are written.
leave out, the order of articles and how the ar-
able and thinks about what to include, what to
The editor makes the articles fit the space avail- •
In summary
what do you need to know?
a draw. Keep the questions short and relevant –
an incentive to boost it, e.g. every entry going into
one in ten). Response tends to be low so you’ll need
survey to all your readers or just a proportion (say,
culation, you could send out the questionnaire or
questionnaire or survey – depending on your cir- •
more research.
in, the chances are they’re not reading. Time to do
the prize is something your audience is interested
a competition – if you don’t get many entries and •
to make, if any
you a good idea of the sort of changes you need
a letters page – the letters they send in will give •
this include:
make sure, you need to get feedback. Ways of doing
Are you giving your audience what they want? To
Getting feedback
Writing Articles and Newsletters
85
questionnaire or a survey.
• Get feedback via a letters page, a competition, a
structured outlines.
short sentences, understandable paragraphs and
• Keep your articles accurate, brief and clear – use
relevant and make an impact.
your audience in mind – they need to be short,
• Headlines and crossheads need to be written with
plus whether it fits the space.
logic, accuracy, consistency, balance and legality,
• When editing contributions, check the targeting,
a copy of your house style sheet.
where and how to send it and the fee (if any), plus
ence, the topic, the deadline, the number of words,
• Your contributor needs to know the target audi-
your contact details and deadline date).
tions (be specific and make sure everyone knows
an advert in your newsletter asking for contribu-
• Offer people a title and/or token payment. Or try
to write an article.
asking other members of the committee/club/staff
paying a freelance, asking readers to contribute,
• If you don’t want to write it all yourself, think about
writing to printing and distribution.
schedule allowing enough time for all stages from
Writing and editing newsletters
Writing and editing newsletters
schedule allowing enough time for all stages from
writing to printing and distribution.
• If you don’t want to write it all yourself, think about
paying a freelance, asking readers to contribute,
asking other members of the committee/club/staff
to write an article.
• Offer people a title and/or token payment. Or try
an advert in your newsletter asking for contribu-
tions (be specific and make sure everyone knows
your contact details and deadline date).
• Your contributor needs to know the target audi-
ence, the topic, the deadline, the number of words,
where and how to send it and the fee (if any), plus
a copy of your house style sheet.
• When editing contributions, check the targeting,
logic, accuracy, consistency, balance and legality,
plus whether it fits the space.
• Headlines and crossheads need to be written with
your audience in mind – they need to be short,
relevant and make an impact.
• Keep your articles accurate, brief and clear – use
short sentences, understandable paragraphs and
structured outlines.
• Get feedback via a letters page, a competition, a
questionnaire or a survey.
85
87

to illustrate your point but make sure they’re quick to

through pages and pages. Use graphics and pictures
of cross-heads – but don’t make your audience scroll
Give a little bit of information at a time and use plenty
words, sentences and paragraphs short and concise.
view (time costs money!) So you need to keep your
the only phone-line at home and their ISP is pay-per-

don’t concentrate on detail, especially if they’re using
tention span. They’re more likely to skim-read and they
Secondly, it’s said that web-users have a 3-second at-
lots of white space with short paragraphs.
chunks of text will give your audience eyestrain; use
it does on a page (some experts say 25% longer). Large
Firstly, it takes longer to read text on the screen than
media.
zines) isn’t quite the same as writing for traditional
Writing for websites and ezines (electronic maga-
the differences
E-media and traditional media –
and ezines
Writing for web sites
% tention span. They’re more likely to skim-read and they
%
Writing for web sites
and ezines
E-media and traditional media –
the differences
Writing for websites and ezines (electronic maga-
zines) isn’t quite the same as writing for traditional
media.
Firstly, it takes longer to read text on the screen than
it does on a page (some experts say 25% longer). Large
chunks of text will give your audience eyestrain; use
lots of white space with short paragraphs.
Secondly, it’s said that web-users have a 3-second at-
don’t concentrate on detail, especially if they’re using
the only phone-line at home and their ISP is pay-per-
view (time costs money!) So you need to keep your
words, sentences and paragraphs short and concise.
Give a little bit of information at a time and use plenty
of cross-heads – but don’t make your audience scroll
through pages and pages. Use graphics and pictures
to illustrate your point but make sure they’re quick to

87

Writing Articles and Newsletters
download or you’ll lose your audience.
Thirdly, your audience reads in a different way –
whereas readers of traditional media might glance
through pages between the articles they know they
want to read, website readers don’t bother spending
time downloading pages that might not be of inter-
est. Make sure your articles are relevant and clearly
signposted.
Before you start writing
If you’re writing for traditional media you know your
target audience and the aim of the publication.
If you’re writing for e-media, it’s pretty much the same.
You need to know the objective of the site – this could
be to attract new visitors, build relationships with ex-
isting visitors or generate repeat traffic. The objec-
tives will tell you the tone to use; the audience will
tell you the vocabulary to use.
The text on your home page
Your home page needs to be quick to download or
the audience will get fed up waiting and go elsewhere.
Use minimal text and graphics (keep it clean and easy
to read) and tell people what the site’s about. Use
‘blurbs’ so people know what they want to click on. A
page just saying ‘enter here’ is a waste of space, and
scrolling through tons of text to find what you want
is equally irritating.
88
88
is equally irritating.
scrolling through tons of text to find what you want
page just saying ‘enter here’ is a waste of space, and
‘blurbs’ so people know what they want to click on. A
to read) and tell people what the site’s about. Use
Use minimal text and graphics (keep it clean and easy
the audience will get fed up waiting and go elsewhere.
Your home page needs to be quick to download or
The text on your home page
tell you the vocabulary to use.
tives will tell you the tone to use; the audience will
isting visitors or generate repeat traffic. The objec-
be to attract new visitors, build relationships with ex-
You need to know the objective of the site – this could
If you’re writing for e-media, it’s pretty much the same.
target audience and the aim of the publication.
If you’re writing for traditional media you know your
Before you start writing
signposted.
est. Make sure your articles are relevant and clearly
time downloading pages that might not be of inter-
want to read, website readers don’t bother spending
through pages between the articles they know they
whereas readers of traditional media might glance
Thirdly, your audience reads in a different way –
download or you’ll lose your audience.
Writing Articles and Newsletters
89
web ‘page’ is too long.
your article’s more than 2 printed pages of text the
Don’t have too much on a page. As a rule of thumb, if
mation marks makes your text look amateur.
And don’t overdo ‘screamers’ – having lots of excla-
‘bullying’ your readers.
read on screen. Don’t overdo it, though, or you’ll be
Use bold rather than italic for emphasis – it’s easier to
the reader a headache after a while.
colour schemes do have an impact, but they also give
is best – simply because it’s easier to read. Yes, jazzy
Boring as it sounds, black text on a light background
The ‘look’ of the site
reliable and not bother coming back.
lose credibility and the audience will think you’re un-
sure you stick to your deadline; if you don’t, you’ll
next bit of information will be available and make
ence by making them wait too long. Say when the
information in stages – but don’t frustrate the audi-
If you want to get lots of repeat visits, you can give
• be consistent.
• put links into easy groups
tail further down)
essential information on the top level, more de-
• have a neat, logical structure (a pyramid’s good –
The site needs to be easy to navigate. This means:
The site structure
Text on your site
Web sites and ezines
Web sites and ezines
Text on your site
The site structure
The site needs to be easy to navigate. This means:
• have a neat, logical structure (a pyramid’s good –
essential information on the top level, more de-
tail further down)
• put links into easy groups
• be consistent.
If you want to get lots of repeat visits, you can give
information in stages – but don’t frustrate the audi-
ence by making them wait too long. Say when the
next bit of information will be available and make
sure you stick to your deadline; if you don’t, you’ll
lose credibility and the audience will think you’re un-
reliable and not bother coming back.
The ‘look’ of the site
Boring as it sounds, black text on a light background
is best – simply because it’s easier to read. Yes, jazzy
colour schemes do have an impact, but they also give
the reader a headache after a while.
Use bold rather than italic for emphasis – it’s easier to
read on screen. Don’t overdo it, though, or you’ll be
‘bullying’ your readers.
And don’t overdo ‘screamers’ – having lots of excla-
mation marks makes your text look amateur.
Don’t have too much on a page. As a rule of thumb, if
your article’s more than 2 printed pages of text the
web ‘page’ is too long.
89

Writing Articles and Newsletters
Keep it interactive – and place links to other sites as
far away from yours as possible.
Article structures
The audience of a website or ezine wants informa-
tion – usually solutions to a problem – so your article
needs to be specific, accurate, easy to understand and
relevant. Try to predict what they want.
The heading of the article or page is important be-
cause it grabs attention. Use powerful words (e.g.
‘free’). Remember that a heading’s often displayed out
of context – for example, in a search engine list or on
a bookmark menu – so make the first word meaning-
ful and information-carrying rather than clever.
Attention-grabbing headlines make your audience
want to read on. Good ways include:
• asking questions
• using inverted commas round a couple of words
(highlights them)
• using initial capitals on major words in the head-
line (but not usually ‘small’ words such as a, of, to,
on, or, in).
For the article text, stick to one topic per article and
use breakout links for further information. It’s bet-
ter to have ten small, focused pages than three
waffly ones where the audience can’t find what they
want.
As a rule of thumb, use half the text you’d use for
traditional media. Keep it focused by using:
90
90
traditional media. Keep it focused by using:
As a rule of thumb, use half the text you’d use for
want.
waffly ones where the audience can’t find what they
ter to have ten small, focused pages than three
use breakout links for further information. It’s bet-
For the article text, stick to one topic per article and
on, or, in).
line (but not usually ‘small’ words such as a, of, to,
using initial capitals on major words in the head- •
(highlights them)
using inverted commas round a couple of words •
asking questions •
want to read on. Good ways include:
Attention-grabbing headlines make your audience
ful and information-carrying rather than clever.
a bookmark menu – so make the first word meaning-
of context – for example, in a search engine list or on
‘free’). Remember that a heading’s often displayed out
cause it grabs attention. Use powerful words (e.g.
The heading of the article or page is important be-
relevant. Try to predict what they want.
needs to be specific, accurate, easy to understand and
tion – usually solutions to a problem – so your article
The audience of a website or ezine wants informa-
Article structures
far away from yours as possible.
Keep it interactive – and place links to other sites as
Writing Articles and Newsletters
91
Web sites and ezines

straight facts and don’t exaggerate.
language or promotional puff – be objective, give
means ditching any flowery language, any persuasive
internet users can’t be bothered with waffle. That also
Keep your text short, snappy and to the point –
talk down.
language informal, personal and chatty – but don’t
Internet users are used to informality, so keep your
Language
action or follow-up advice.
Conclude with a strong message – a review, a call to
give more detail).
– give links to the appropriate section if you want to
Expand on the main points (one point per paragraph
conclusion.
main points (preferably no more than three) and the
Your introductory paragraph is next: a summary of the
tell them.
Begin with the title – tell them what you’re going to
answer.
tions so the audience will keep reading to find the
You can also keep your reader focused by asking ques-
• one idea per paragraph – with clear paragraph
breaks
• cross-heads to break up the page – make them
meaningful rather than clever
• bulleted or numbered lists (readers love these as
they’re easy to scan).
You can also keep your reader focused by asking ques-
tions so the audience will keep reading to find the
answer.
Begin with the title – tell them what you’re going to
tell them.
Your introductory paragraph is next: a summary of the
main points (preferably no more than three) and the
conclusion.
Expand on the main points (one point per paragraph
– give links to the appropriate section if you want to
give more detail).
Conclude with a strong message – a review, a call to
action or follow-up advice.
Language

they’re easy to scan).
• bulleted or numbered lists (readers love these as
meaningful rather than clever
cross-heads to break up the page – make them
breaks
one idea per paragraph – with clear paragraph
Internet users are used to informality, so keep your
language informal, personal and chatty – but don’t
talk down.
Keep your text short, snappy and to the point –
• internet users can’t be bothered with waffle. That also
means ditching any flowery language, any persuasive
language or promotional puff – be objective, give
• straight facts and don’t exaggerate.

Web sites and ezines

91

Writing Articles and Newsletters
Using links
Using links doesn’t mean splitting a long chunk of text
into several pages – hypertext isn’t for continuous flow.
Instead, the information’s in several ‘chunks’, and each
chunk should focus on one topic. This means the read-
ers can select just those pages or chunks of informa-
tion they’re interested in.
Response mechanisms
If you encourage your readers to respond to you – for
example, send you comments on email – make it clear
if and when they can expect a reply.
If you offer a reply, it must be quick – 24 hours maxi-
mum – or your reader will lose confidence.
In summary
• It takes around 25% longer to read text on the
screen than it does on a page so use lots of white
space with short paragraphs.
• Your readers are more likely to skim-read so be con-
cise and make sure illustrations are quick to down-
load.
• Your readers won’t bother to download pages that
might not be of interest so make sure they’re rel-
evant and clearly signposted.
• What’s the objective and audience of the site?
92
92
What’s the objective and audience of the site? •
evant and clearly signposted.
might not be of interest so make sure they’re rel-
• Your readers won’t bother to download pages that
load.
cise and make sure illustrations are quick to down-
• Your readers are more likely to skim-read so be con-
space with short paragraphs.
screen than it does on a page so use lots of white
It takes around 25% longer to read text on the •
In summary
mum – or your reader will lose confidence.
If you offer a reply, it must be quick – 24 hours maxi-
if and when they can expect a reply.
example, send you comments on email – make it clear
If you encourage your readers to respond to you – for
Response mechanisms
tion they’re interested in.
ers can select just those pages or chunks of informa-
chunk should focus on one topic. This means the read-
Instead, the information’s in several ‘chunks’, and each
into several pages – hypertext isn’t for continuous flow.
Using links doesn’t mean splitting a long chunk of text
Using links
Writing Articles and Newsletters
93
when the reader can expect a reply.
• If you’re asking for comments, make it clear if and
• Make each link focus on one topic
• Keep text short and to the point.
• Keep language informal and personal.
sion.
expand on the points then give a strong conclu-
• Begin with the title, summarise the main points,
bered lists.
• Use one idea per paragraph; use bulleted or num-
for more detail.
• Stick to one topic per article with breakout links
tial capitals.
ing questions and using inverted commas or ini-
• Headings are important – grab attention by ask-
understand and relevant.
• Web articles need to be specific, accurate, easy to
italic for emphasis. Don’t have too much on a page.
on a light background and use bold rather than
• Make it easy to read physically – stick to black text
tent.
ture, links sorted into easy groups, and be consis-
• Make your site easy to navigate with a logical struc-
and include blurbs.
• Use minimal text and graphics on the home page
Web sites and ezines
Web sites and ezines
• Use minimal text and graphics on the home page
and include blurbs.
• Make your site easy to navigate with a logical struc-
ture, links sorted into easy groups, and be consis-
tent.
• Make it easy to read physically – stick to black text
on a light background and use bold rather than
italic for emphasis. Don’t have too much on a page.
• Web articles need to be specific, accurate, easy to
understand and relevant.
• Headings are important – grab attention by ask-
ing questions and using inverted commas or ini-
tial capitals.
• Stick to one topic per article with breakout links
for more detail.
• Use one idea per paragraph; use bulleted or num-
bered lists.
• Begin with the title, summarise the main points,
expand on the points then give a strong conclu-
sion.
• Keep language informal and personal.
• Keep text short and to the point.
• Make each link focus on one topic
• If you’re asking for comments, make it clear if and
when the reader can expect a reply.
93
'#
feature – factual article of general interest (not news)
ezine – electronic magazine
and-shoulders photograph)
on one or two particular points (often includes a head-
expert head – a box-out where your expert comments
editor
deadline – the day your article needs to be with the
articles
cuttings – also called ‘cuts’ – copies of your published
column to break up text
crosshead – a word or words in the centre of the
February cover date magazines go on sale in January)
ally the month or week after the date it’s on sale (e.g.
cover date – date on the front of a publication; usu-
the point you’re making in the article
case study – someone whose experience illustrates
type at the side of the page): ‘written by …’
article (it may be at the beginning, the end or in smaller
by-line – the name you wish to appear next to your
in a separate box
box-out – information within an article that’s placed
to headlines
body copy – the main text of an article, as opposed
Glossary
Glossary
body copy – the main text of an article, as opposed
to headlines
box-out – information within an article that’s placed
in a separate box
by-line – the name you wish to appear next to your
article (it may be at the beginning, the end or in smaller
type at the side of the page): ‘written by …’
case study – someone whose experience illustrates
the point you’re making in the article
cover date – date on the front of a publication; usu-
ally the month or week after the date it’s on sale (e.g.
February cover date magazines go on sale in January)
crosshead – a word or words in the centre of the
column to break up text
cuttings – also called ‘cuts’ – copies of your published
articles
deadline – the day your article needs to be with the
editor
expert head – a box-out where your expert comments
on one or two particular points (often includes a head-
and-shoulders photograph)
ezine – electronic magazine
feature – factual article of general interest (not news)
'#

filler – short item which fills a space in a column of a
newspaper or magazine, e.g. practical tips, quizzes,
puzzles, jokes, interesting facts
font – typeface (usually also with the typesize)
hard copy – paper copy
head shot – head-and-shoulders picture, usually of
an expert or a case study, but may also be of the jour-
nalist and used next to the by-line
house style – set of guidelines which tells any con-
tributors or editors about the format of words, ab-
breviations, capital letters and the like
layout – arrangement of illustrations, headlines and
body copy on a page
lead time – the time between your deadline and the
publication going to print
masthead – goes at the back of the publication and
includes the name and address of the organisation or
business publishing the letter, the editor’s name and
contact details, the purpose of the publication and
deadline dates for the next issue
nameplate – goes at the front of the publication and
includes the publication name, who it’s for, the issue
number and date
plagiarism – copying directly from another source
without acknowledgement
running copy – another term for body copy (i.e. with
no box-outs)
screamers – exclamation marks
special – a longer-than-usual article or a linked series
of articles in a magazine, dealing with a specific topic
'$
'$
of articles in a magazine, dealing with a specific topic
special – a longer-than-usual article or a linked series
screamers – exclamation marks
no box-outs)
running copy – another term for body copy (i.e. with
without acknowledgement
plagiarism – copying directly from another source
number and date
includes the publication name, who it’s for, the issue
nameplate – goes at the front of the publication and
deadline dates for the next issue
contact details, the purpose of the publication and
business publishing the letter, the editor’s name and
includes the name and address of the organisation or
masthead – goes at the back of the publication and
publication going to print
lead time – the time between your deadline and the
body copy on a page
layout – arrangement of illustrations, headlines and
breviations, capital letters and the like
tributors or editors about the format of words, ab-
house style – set of guidelines which tells any con-
nalist and used next to the by-line
an expert or a case study, but may also be of the jour-
head shot – head-and-shoulders picture, usually of
hard copy – paper copy
font – typeface (usually also with the typesize)
puzzles, jokes, interesting facts
newspaper or magazine, e.g. practical tips, quizzes,
filler – short item which fills a space in a column of a
'%

web site: www.writers.org.uk/guild

telephone: 020 7723 8074
430 Edgware Road, London W2 1EH
Writers Guild of Great Britain

web site: www.author.co.uk/swwj

East Preston, West Sussex BN16 2TF
Membership Secretary, Joyce Elsden, Tamarisk Way,
membership to: Useful addresses
Send a stamped addressed envelope for details of
Chartered Institute of Journalists
The Society of Women Writers and Journalists
2 Dock Offices, Surrey Quays Road, London SE16 2XU
web site: www.societyofauthors.org
telephone: 020 7252 1187
telephone: 020 7373 6642
web site: www.ioj.co.uk
84 Drayton Gardens, London, SW10 9SB
National Union of Journalists
Society of Authors
Headland House, 308 Grays Inn Road,
web site: www.nuj.org.uk
London WC1X 8DP
telephone: 020 7278 7916
telephone: 020 7278 7916
London WC1X 8DP
web site: www.nuj.org.uk
Headland House, 308 Grays Inn Road,
Society of Authors
National Union of Journalists
84 Drayton Gardens, London, SW10 9SB
web site: www.ioj.co.uk
telephone: 020 7373 6642
telephone: 020 7252 1187
web site: www.societyofauthors.org
2 Dock Offices, Surrey Quays Road, London SE16 2XU
The Society of Women Writers and Journalists
Chartered Institute of Journalists
Send a stamped addressed envelope for details of
Useful addresses membership to:
Membership Secretary, Joyce Elsden, Tamarisk Way,
East Preston, West Sussex BN16 2TF
web site: www.author.co.uk/swwj

Writers Guild of Great Britain

430 Edgware Road, London W2 1EH
telephone: 020 7723 8074
web site: www.writers.org.uk/guild

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Useful internet sites

Journalism UK – www.journalismuk.co.uk
Ananova (wire) – www.ananova.com

Ananova (wire) – www.ananova.com

Journalism UK – www.journalismuk.co.uk
Useful internet sites

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Email: enquiries@rowmark.co.uk
Fax: 023 9244 9601
Telephone: 023 9244 9665
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Havant
Harts Farm Way
Broadmarsh Business & Innovation Centre
Unit 36
Rowmark Limited
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Marketing
Telemarketing, Cold Calling & Appointment Making
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Other Easy Step by Step Guides
Other Easy Step by Step Guides
in the series include:
Telemarketing, Cold Calling & Appointment Making
Marketing
Successful Selling
Stress & Time Management
Motivating your Staff
Recruiting the Right Staff
Better Budgeting for your Business
Building a Positive Media Profile
All the above guides are available direct from:
Rowmark Limited
Unit 36
Broadmarsh Business & Innovation Centre
Harts Farm Way
Havant
Hampshire PO9 1HS
Telephone: 023 9244 9665
Fax: 023 9244 9601
Email: enquiries@rowmark.co.uk
Or via our web site www.rowmark.co.uk
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