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Feature Stories

 Feature stories are human-interest articles that focus on
particular people, places and events.

 Feature stories are journalistic, researched, descriptive,
colorful, thoughtful, reflective, thorough writing about
original ideas.

 Feature stories cover topics in depth, going further than
mere hard news coverage by amplifying and explaining the
most interesting and important elements of a situation or
 A feature story is not meant to report the latest breaking
news, but rather an in-depth look at a subject.

Typical types

There are many kinds of feature stories. Here are some popular
 Human Interest: The best-known kind of feature story is
the human-interest story that discusses issues through the
experiences of another.

 Profiles: A very common type of feature is the profile that
reveals an individual's character and lifestyle. The profile
exposes different facets of the subject so readers will feel
they know the person.

 How-To: These articles help people learn by telling them
how to do something. The writer learns about the topic
through education, experience, research or interviews with

 Historical Features: These features commemorate
important dates in history or turning points in our social,
political and cultural development. They offer a useful
juxtaposition of then and now. Historical features take the
reader back to revisit an event and issues surrounding it. A
variation is the this date in history short feature, which
reminds people of significant events on a particular date.

 Seasonal Themes: Stories about holidays and the change
of seasons address matters at specific times of a year. For
instance, they cover life milestones, social, political and
cultural cycles, and business cycles.

 Behind the Scenes: Inside views of unusual occupations,
issues, and events give readers a feeling of penetrating
the inner circle or being a mouse in a corner. Readers like
feeling privy to unusual details and well kept secrets about
procedures or activities they might not ordinarily be
exposed to or allowed to participate in.
Non-fiction stories

Feature stories are journalistic reports. They are not opinion
essays or editorials. They should not be confused with creative
writing or works of fiction.
 The writer's opinions and attitudes are not important to the

 The writer keeps herself or himself out of the story.

 Writing in the third person helps maintain the necessary
Telling stories

Hard news stories report very timely events that have just
occurred. Feature stories, on the other hand, are soft
news because they are not as timely, not as swiftly reported.
Feature writers have the extra time to complete background
research, interviews and observation for their stories.

Here are some suggestions for polishing feature writing skills
and developing an eye for feature story ideas.
 Feature stories give readers information in a pleasing,
entertaining format that highlights an issue by describing
the people, places, events and ideas that shape it.

 Feature stories are really more like nonfiction short stories
than hard news stories.

 While there should a news peg for the existence of a story
at a particular time, the immediacy of the event is
secondary in a feature story. In fact, sometimes there is no
immediate event.

 The power of a feature story lies in its ability to amplify the
focus on an issue through first-rate story telling, irony,
humor, human appeal, atmosphere and colorful details.

 Features have a clear beginning, middle and end and are
longer than hard-news stories.
Gathering data

Journalists use three tools to gather information for stories:
observation, interview and background research.

After completing these, the writer brings the story to life through
colorful description, meaningful anecdotes and significant
 These elements are obtained when interviewing and
observing by jotting down everything encountered –
smells, noises, colors, textures, emotions, details seen and
heard in the surroundings.

 The journalist keeps an open mind while interviewing
subjects and researching sources.

 The writer avoids steering the story or imposing personal
ideas on the sources.

 The writer avoids deciding on the theme of the story until
sufficient information has been gathered to show a
direction or point of view.
Story format

The information in a feature is organized differently from hard
news stories. Sometimes a writer uses several paragraphs of
copy at the outset to engage the reader before getting on with
the main elements of the story.

After the title and opening paragraph grab a reader, narrative
hooks are used to persuade the reader to continue reading.
These hooks are attractive story elements such as action,
mystery, drama or appealing characters intended to pull the
reader forward through the story. They are complex narratives
that come to life through colorful description, meaningful
anecdotes and significant quotes.
 In hard news stories, the reporter makes the point, sets the
tone, and frames the issue in the first paragraph or two.

 In feature stories, the whole story does not have to be
encapsulated in an inverted pyramid lead. The writer can
develop the storyline in a variety of ways and choose to
postpone the main point until later in the copy or even the
A writer can choose to tell the story out of order to engage the
reader's interest.
 A story could begin with a dramatic moment and, once the
reader is curious, the story could flash back to the history
needed to understand it.

 A story-within-a-story could be used with a narrator in the
outer story telling the inner story to satisfy the curiosity of

 A storyline could alert readers that the story began in a
way that seemed ordinary, but they must follow it to
understand what happened eventually.
As with any news reporting, feature stories are subject to the
journalistic standards of accuracy, fairness and precision. The
quality of a story is judged on its content, organization and

Features writers use The Associated Press Stylebook for correct
journalistic style.

How long are these articles?
 Newspaper features often are 500 to 2500 words in

 Magazine features usually are 500 to 5,000 words.

 Features on websites and blogs generally range from 250–
2500 words, but hard drive space is relatively inexpensive
so the length could vary dramatically through the use of
non-linear hyperlinking of content.

 Any medium might use a shorter or longer story than
usual, depending on its perceived value.

 Attention spans seem to grow ever shorter so brevity is
valued. More than ever, all writing today needs to be clear
and concise.

Every story is illustrated, usually with one or more photographs,
but the art can be drawings, paintings, sketches, video or
machinima, colorful graphs and charts, or other creative
expressions depending on the medium for which the feature is
packaged for dissemination.

Is this just for print journalists?

As newspapers and other print media face stiffer competition
today from Internet news media, more feature stories are
published because they can be more engaging to read. Wire
services, such as the Associated Press and reuters, which once
distributed mostly hard news, now send feature stories to

Public relations professionals frequently write feature articles.
For instance, a company newsletter story profiling employees
voluntarily helping the local community could benefit employees
and their families as well as the firm's stockholders. Or a profile
of a corporate CEO could be released to media when the firm
makes news.

Broadcast journalists use human interest stories, profiles,
historical pieces, seasonal packages, behind the scenes
revelations and even how-to descriptions. These can be seen
and heard everywhere in television and radio news.

A typical television news package includes an edited set of
video clips for a story narrated by a reporter following a written
script. Unlike a magazine article, for example, the TV feature
story also will have audio, video, graphics and video effects. A
news anchor with an over-the-shoulder graphic will be seen
reading a lead-in introduction before the package is aired and
concluding the story with additional information called a tag.

The Savedoff Web Journalism

Good Interview Questions

These questions are from several professional news
people. Use them. They work!!!
``How do you know that?'' It tends to justify comments
that could be misconstrued, and of course it exposes bigots.
What makes you say that? What happened next?

If you ask a yes-no question, you'll get a yes-no answer.

Three basic questions that even experienced reporters
seldom ask often enough:
What does that mean?
Can you give me an example?
Has that ever happened before? (Or, How often does that
A business reporter was grilling Tom Ridge , then the
governor of Pennsylvania , about the expansion of a Lucent
plant. She had asked him about the state's role in the project.
Ridge gave a perfunctory 15-second political answer, and the
reporter stood, unmoving. She looked up at him and
said, ``And?'' He talked for another 30 seconds. She
said, ``And?'' and he went on for five full minutes
explaining in detail how his office worked with Lucent to
bring the new complex to the state.
The lesson, of course, is don't let the source get away with a
nonanswer. By being courteous yet persistent, she got what
no other reporter there got.
Fish for figures of speech. Questions can stimulate
imaginative answers. What’s it like?
What led up to this?
Who did what?
How did it work?
Reporters are often so focused on the present and future
that they neglect that gold mine, the past.
``Tell me a story from your childhood'' and
``If you could choose, what would you be doing -----
years from now?''
These two questions are obvious, but they do often produce
surprising answers that may pep up an otherwise predictable
picture. Even if the reporter doesn't use them, they can
soften up a stiff interview, make the subject more human and
complex, and give the reporter insight. Ditto, a question
about the road not taken:
``If you hadn't become a -----, what might you have
Remember this phrase: evergreen questions. These are
simple questions that can be used over and over to get
people to open up. You could make a list of almost any length
of such questions.
Some samples:
What was the worst thing that ever happened to you?
What was the best day of your life?
Who was the person who most influenced you, and how?
If you were writing your epitaph, what would you say?
You could easily list 25 or 30 evergreen questions. They
come in handy not only for profiles, but also for other stories.
This doesn't mean, of course, that you will go methodically
through the whole list when you interview someone. The idea
is that you can pick a question that seems appropriate or that
might help restart a flagging conversation. Evergreen
questions can turn up information you might not otherwise
get. They can get a person to talking and telling you
something real instead of telling you what the person thinks
would be nice to say.
Give something back to the source.
You can't just call them up and demand information; you
have to tell them stuff, too, to make a conversation with you
worth their while. And respect their time; if they know you're
going to keep them on the phone forever, they're going to be
much less likely to return your calls.
Allow for silence.
A key to interviewing is allowing periods of silence to stretch
a little. People are uncomfortable with it and will talk just to
fill up the space. Sometimes if you just let silence hang, the
source will expand on what he/she just said because he/she
can't stand the silence.
Ask throw-away questions.
It's handy to keep a few ``throw-away questions'' ready.
Questions you don't really need the answers to for your story
or don't care about or have asked before or whatever. Toss
those out when you want to have a minute to focus on jotting
notes about the environment, body language, etc., so that
you don't need to pay a lot of attention to the answer.
Use the tools at your disposal: respect, humor,
I always, always go into an interview knowing that no person
has to talk to me, even public officials. I'm respectful of that. I
do a bit of a Columbo routine, usually, which is more real
than artifice. I generally find something, either in the person's
office or general background (hometown, college) that I can
draw a connection to. I use a lot of humor to dispel people of
the notion that reporters are blood-sucking automatons.
Sometimes I bring doughnuts.
And then I let the conversation follow a natural flow. If
there's something that I want to return to, I make a note on
the back of my notebook. Sometimes, instead of saving the
hardest questions for last, I bring them up early - to keep the
interviewee from conforming to a series of prearranged
answers. And I always make sure that the door is open for a
return call or visit.
As for tricks in approaching questions about difficult matters,
a friend uses: ``How would you respond to someone who
would question the ethics of . . .'' etc.
To ask good questions you must be prepared to ask good
That means, whenever possible, doing research on the
subject and coming up with initial questions before the
interview; understanding how much time you'll have to ask
the questions; having an idea of the environment in which
your interview will be conducted; and identifying your `tough
questions` and setting up other ways to ask them when and if
the subject dodges.
Also: Be interested. If you ask boring questions, be prepared
to get boring answers.