feature article research process

APPLY ONLINE
APPOINTMENT
PRESS & MEDIA
STUDENT LOGIN
09811014536

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

Feature stories are one of the most crucial forms of writing these days, we can find feature articles and examples in many news websites, blog websites, etc. While writing a feature article a lot of things should be kept in mind as well. Feature stories are a powerful form of journalism, allowing writers to delve deeper into subjects and explore the human element behind the headlines. Whether you’re a budding journalist or an aspiring storyteller, mastering the art of feature story writing is essential for engaging your readers and conveying meaningful narratives. In this blog, you’ll find the process of writing a feature article, feature article writing tips, feature article elements, etc. The process of writing a compelling feature story, offering valuable tips, real-world examples, and a solid structure to help you craft stories that captivate and resonate with your audience.

Read Also: Top 5 Strategies for Long-Term Success in Journalism Careers

Table of Contents

Understanding the Essence of a Feature Story

Before we dive into the practical aspects, let’s clarify what a feature story is and what sets it apart from news reporting. While news articles focus on delivering facts and information concisely, feature stories are all about storytelling. They go beyond the “who, what, when, where, and why” to explore the “how” and “why” in depth. Feature stories aim to engage readers emotionally, making them care about the subject, and often, they offer a unique perspective or angle on a topic.

Tips and tricks for writing a Feature article

In the beginning, many people can find difficulty in writing a feature, but here we have especially discussed some special tips and tricks for writing a feature article. So here are some Feature article writing tips and tricks: –

Do you want free career counseling?

Ignite Your Ambitions- Seize the Opportunity for a Free Career Counseling Session.

30+ Years in Education
250+ Faculties
30K+ Alumni Network
10th in World Ranking
1000+ Celebrity
120+ Countries Students Enrolled

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

1. Choose an Interesting Angle:

The first step in feature story writing is selecting a unique and compelling angle or theme for your story. Look for an aspect of the topic that hasn’t been explored widely, or find a fresh perspective that can pique readers’ curiosity.

2. Conduct Thorough Research:

Solid research is the foundation of any feature story. Dive deep into your subject matter, interview relevant sources, and gather as much information as possible. Understand your subject inside out to present a comprehensive and accurate portrayal.

3. Humanize Your Story:

Feature stories often revolve around people, their experiences, and their emotions. Humanize your narrative by introducing relatable characters and sharing their stories, struggles, and triumphs.

4. Create a Strong Lead:

Your opening paragraph, or lead, should be attention-grabbing and set the tone for the entire story. Engage your readers from the start with an anecdote, a thought-provoking question, or a vivid description.

5. Structure Your Story:

Feature stories typically follow a narrative structure with a beginning, middle, and end. The beginning introduces the topic and engages the reader, the middle explores the depth of the subject, and the end provides closure or leaves readers with something to ponder.

6. Use Descriptive Language:

Paint a vivid picture with your words. Utilize descriptive language and sensory details to transport your readers into the world you’re depicting.

7. Incorporate Quotes and Anecdotes:

Quotes from interviews and anecdotes from your research can breathe life into your story. They add authenticity and provide insights from real people.

8. Engage Emotionally:

Feature stories should evoke emotions. Whether it’s empathy, curiosity, joy, or sadness, aim to connect with your readers on a personal level.

Read Also: The Ever-Evolving World Of Journalism: Unveiling Truths and Shaping Perspectives

Examples of Feature Stories

Here we are describing some of the feature articles examples which are as follows:-

“Finding Beauty Amidst Chaos: The Life of a Street Artist”

This feature story delves into the world of a street artist who uses urban decay as his canvas, turning neglected spaces into works of art. It explores his journey, motivations, and the impact of his art on the community.

“The Healing Power of Music: A Veteran’s Journey to Recovery”

This story follows a military veteran battling post-traumatic stress disorder and how his passion for music became a lifeline for healing. It intertwines personal anecdotes, interviews, and the therapeutic role of music.

“Wildlife Conservation Heroes: Rescuing Endangered Species, One Baby Animal at a Time”

In this feature story, readers are introduced to a group of dedicated individuals working tirelessly to rescue and rehabilitate endangered baby animals. It showcases their passion, challenges, and heartwarming success stories.

What should be the feature a Feature article structure?

Read Also: What is The Difference Between A Journalist and A Reporter?

Structure of a Feature Story

A well-structured feature story typically follows this format:

Headline: A catchy and concise title that captures the essence of the story. This is always written at the top of the story.

Lead: A captivating opening paragraph that hooks the reader. The first 3 sentences of any story that explains 5sW & 1H are known as lead.

Introduction : Provides context and introduces the subject. Lead is also a part of the introduction itself.

Body : The main narrative section that explores the topic in depth, including interviews, anecdotes, and background information.

Conclusion: Wraps up the story, offers insights, or leaves the reader with something to ponder.

Additional Information: This may include additional resources, author information, or references.

Read Also: Benefits and Jobs After a MAJMC Degree

Writing a feature article is a blend of journalistic skills and storytelling artistry. By choosing a compelling angle, conducting thorough research, and structuring your story effectively, you can create feature stories that captivate and resonate with your readers. AAFT also provides many courses related to journalism and mass communication which grooms a person to write new articles, and news and learn new skills as well. Remember that practice is key to honing your feature story writing skills, so don’t be discouraged if it takes time to perfect your craft. With dedication and creativity, you’ll be able to craft feature stories that leave a lasting impact on your audience.

What are the characteristics of a good feature article?

A good feature article is well-written, engaging, and informative. It should tell a story that is interesting to the reader and that sheds light on an important issue.

Why is it important to write feature articles?

Feature articles can inform and entertain readers. They can also help to shed light on important issues and to promote understanding and empathy.

What are the challenges of writing a feature article?

The challenges of writing a feature article can vary depending on the topic and the audience. However, some common challenges include finding a good angle for the story, gathering accurate information, and writing in a clear and concise style.

Aaditya Kanchan is a skilled Content Writer and Digital Marketer with experience of 5+ years and a focus on diverse subjects and content like Journalism, Digital Marketing, Law and sports etc. He also has a special interest in photography, videography, and retention marketing. Aaditya writes in simple language where complex information can be delivered to the audience in a creative way.

Feature Article Writing Tips
How to Write a Feature Article
Step-by-Step Guide
Write a Feature Article

5 Essential Skills Every Aspiring Journalist Needs Today

Is Citizen Journalism the Future of News?

Adapting to a Changing Media Landscape 2024

The Impact of Commercial Radio & Scope of Radio Industry in India

Enquire now.

Advertising, PR & Events
Animation & Multimedia
Data Science
Digital Marketing
Fashion & Design
Health and Wellness
Hospitality and Tourism
Industry Visit
Infrastructure
Mass Communication
Performing Arts
Photography
Student Speak
Maximizing Cloud Potential: Top Cloud-Based Tools for Modern Data Scientists in 2024 June 6, 2024
Enhancing Creativity: Advanced Tools for Authentic Photography Learning May 28, 2024
How Nutrition & Dietetics Programs can Change your Career? May 28, 2024
Hotel Management Courses After 12th May 25, 2024
Turn Your Fashion Designing Passion into a Business & Career May 22, 2024
5 Essential Skills Every Aspiring Journalist Needs Today May 22, 2024
2024’s Top Nutrition & Dietetics Course: Become a Certified Dietitian May 16, 2024
5 Reasons Why Our Fashion Design Course Will Set You Apart May 10, 2024
Nutrition & Dietetics Course After 12th: Courses Details, Eligibility, and Fee 2024 May 9, 2024
Fashion Design Courses After 12th: Course Details, Fee, and Eligibility 2024 May 4, 2024

Follow us on Facebook
Follow us on Twitter
Criminal Justice
Environment
Politics & Government
Race & Gender

Expert Commentary

Feature writing: Crafting research-based stories with characters, development and a structural arc

Semester-long syllabus that teaches students how to write stories with characters, show development and follow a structural arc.

Republish this article

This work is licensed under a Creative Commons Attribution-NoDerivatives 4.0 International License .

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

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

The best journalism engages as it informs. When articles or scripts succeed at this, they often are cast as what is known as features or contain elements of a story. This course will teach students how to write compelling feature articles, substantive non-fiction stories that look to a corner of the news and illuminate it, often in human terms.

Like news, features are built from facts. Nothing in them is made up or embellished. But in features, these facts are imbedded in or interwoven with scenes and small stories that show rather than simply tell the information that is conveyed. Features are grounded in time, in place and in characters who inhabit both. Often features are framed by the specific experiences of those who drive the news or those who are affected by it. They are no less precise than news. But they are less formal and dispassionate in their structure and delivery. This class will foster a workshop environment in which students can build appreciation and skill sets for this particular journalistic craft.

Course objective

To teach students how to interest readers in significant, research-based subjects by writing about them in the context of non-fiction stories that have characters, show development and follow a structural arc from beginning to end.

Learning objectives

Explore the qualities of storytelling and how they differ from news.
Build a vocabulary of storytelling.
Apply that vocabulary to critiquing the work of top-flight journalists.
Introduce a writing process that carries a story from concept to publication.
Introduce tools for finding and framing interesting features.
Sharpen skills at focusing stories along a single, clearly articulated theme.
Evaluate the importance of backgrounding in establishing the context, focus and sources of soundly reported stories.
Analyze the connection between strong information and strong writing.
Evaluate the varied types of such information in feature writing.
Introduce and practice skills of interviewing for story as well as fact.
Explore different models and devices for structuring stories.
Conceive, report, write and revise several types of feature stories.
Teach the value of “listening” to the written word.
Learn to constructively critique and be critiqued.
Examine markets for journalism and learn how stories are sold.

Week 1: What makes feature stories different?

Previous week | Next week | Back to top

Class 1: News reports versus stories

The words “dispassionate,” “factual” and “front-loaded” might best describe the traditional news story. It is written to convey information quickly to the hurried reader. Features, on the other hand, are structured and told so that readers engage in and experience a story — with a beginning, middle and end — even as they absorb new information. It is features that often are the stories emailed to friends or linked on their Facebook pages. Nothing provides more pleasure than a “good read” a story that goes beyond basic information to transport audiences to another place, to engage an audience in others’ lives, to coax a smile or a tear.

This class will begin with a discussion of the differences in how journalists approach both the reporting and writing of features. In news, for example, reporters quote sources. In features, they describe characters, sometimes capturing their interaction through dialogue instead of through disembodied quotes. Other differences between news and story are summarized eloquently in the essays “Writing to Inform, Writing to Engage” and “Writing with ‘Gold Coins'” on pages 302 to 304 of Clark and Scanlan’s America’s Best Newspaper Writing . These two essays will be incorporated in class discussion.

The second part of the introductory class will focus on writing as a continuum that begins with the inception of an idea. In its cover blurb, William Blundell’s book is described as “a step-by-step guide to reporting and writing as a continuous, interrelated process.”

Notes Blundell: “Before flying out the door, a reporter should consider the range of his story, its central message, the approach that appears to best fit the tale, and even the tone he should take as a storyteller.” Such forethought defines not only how a story will be reported and written but the scope of both. This discussion will emphasize that framing and focusing early allows a reporter to report less broadly and more deeply, assuring a livelier and more authoritative story.

READING (assignments always are for the next class unless otherwise noted):

Blundell, Chapter 1
Clark/Scanlan, “The Process of Writing and Reporting,” pages 290-294.

ASSIGNMENT:

Before journalists can capture telling details and create scenes in their feature stories, they need to get these details and scenes in their notebooks. They need, as Blundell says, to be keen observers “of the innocuous.” In reporting news, journalists generally gather specific facts and elucidating quotes from sources. Rarely, however, do they paint a picture of place, or take the time to explore the emotions, the motives and the events that led up to the news. Later this semester, students will discuss and practice interviewing for story. This first assignment is designed to make them more aware of the importance of the senses in feature reporting and, ultimately, writing.

Students should read the lead five paragraphs of Hal Lancaster’s piece on page 56 of Blundell and the lead of Blundell’s own story on page 114. They should come prepared to discuss what each reporter needed to do to cast them, paying close attention to those parts based on pure observation and those based on interviewing.

Finally, they should differentiate between those parts of the lead that likely were based on pure observation and those that required interviewing and research. This can be done in a brief memo.

Class 2: Building observational and listening skills

Writing coach Don Fry, formerly of the Poynter Institute, used the term “gold coins” to describe those shiny nuggets of information or passages within stories that keep readers reading, even through sections based on weighty material. A gold coin can be something as simple as a carefully selected detail that surprises or charms. Or it can be an interior vignette, a small story within a larger story that gives the reader a sense of place or re-engages the reader in the story’s characters.

Given the feature’s propensity to apply the craft of “showing” rather than merely “telling,” reporters need to expand their reporting skill set. They need to become keen observers and listeners, to boil down what they observe to what really matters, and to describe not for description’s sake but to move a story forward. To use all the senses to build a tight, compelling scene takes both practice and restraint. It is neither license to write a prose-poem nor to record everything that’s seen, smelled or heard. Such overwriting serves as a neon exit sign to almost any reader. Yet features that don’t take readers to what Blundell calls “street level” lack vibrancy. They recount events and measure impact in the words of experts instead of in the actions of those either affected by policy, events or discovery of those who propel it.

In this session, students will analyze and then apply the skill sets of the observer, the reporter who takes his place as a fly on the wall to record and recount the scene. First students will discuss the passive observation at the heart of the stories assigned above. Why did the writers select the details they did? Are they the right ones? Why or why not?

Then students will be asked to report for about 30 to 45 minutes, to take a perch someplace — a cafeteria, a pool hall, a skateboard park, a playground, a bus stop — where they can observe and record a small scene that they will be asked to recapture in no more than 150 to 170 words. This vignette should be written in an hour or less and either handed in by the end of class or the following day.

Four fundamental rules apply:

The student reporters can only write what they observe or hear. They can’t ask questions. They certainly can’t make anything up.
The students should avoid all opinion. “I” should not be part of this story, either explicitly or implicitly.
The scene, which may record something as slight as a one-minute exchange, should waste no words. Students should choose words and details that show but to avoid words and details that show off or merely clutter.
Reporters should bring their lens in tight. They should write, for example, not about a playground but about the jockeying between two boys on its jungle gym.

Reading: Blundell, Chapter 1, Stepp, pages 64 to 67. Students will be assigned to read one or more feature articles built on the context of recently released research or data. The story might be told from the perspective of someone who carried out the research, someone representative of its findings or someone affected by those findings. One Pulitzer Prize-winning example is Matt Richtel’s “Dismissing the Risks of a Deadly Habit,” which began a series for which The New York Times won a Pulitzer Prize for National Reporting in 2010. Richtel told of the dangers of cell phones and driving through the experiences of Christopher Hill, a young Oklahoma driver with a clean record who ran a light and killed someone while talking on the phone. Dan Barry’s piece in The Times , “From an Oyster in the Gulf, a Domino Effect,” tells the story of the BP oil spill and its impact from the perspective of one oysterman, placing his livelihood into the context of those who both service and are served by his boat.

Finish passive observational exercise (see above).
Applying Blundell’s criteria in Chapter 1 (extrapolation, synthesis, localization and projection), students should write a short memo that establishes what relationship, if any, exists between the features they were assigned to read and the news or research developments that preceded them. They should consider whether the reporter approached the feature from a particular point of view or perspective. If so, whose? If not, how is the story structured? And what is its main theme? Finally, students should try to identify three other ways feature writers might have framed a story based on the same research.

Week 2: The crucial early stages: Conceiving and backgrounding the story

Class 1: Finding fresh ideas

In the first half of class, several students should be asked to read their observed scenes. Writing is meant to be heard, not merely read. After each student reads a piece, the student should be asked what he or she would do to make it better. Then classmates should be encouraged to make constructive suggestions. All students should be given the opportunity to revise.

In the second half of class, students will analyze the origins of the features they were assigned to read. The class might be asked to form teams and to identify other ways of approaching the material thematically by using Blundell’s methods of looking at an issue.

Feature writers, the author writes, are expected to find and frame their own ideas.

“The feature writer who doesn’t have two or three projects bubbling on his own stove is doing only half a job,” he writes.

Conceiving stories, Blundell notes, involves more than clear and original thought. Reporters need idea files and source files. They need to read prolifically in areas about which they know little. They need to look for areas that are under covered by their publications. They need to walk through their communities with the wonderment of tourists who have just landed in a foreign city.

This degree of organization and engagement assures reporters far greater success in applying some of Blundell’s other tools of analysis.

These include:

Extrapolation — Looking for the “why” or principal cause of a story. After the explosion that killed BP workers and spewed oil into the Gulf of Mexico, some feature stories likely told the dramatic, but relatively narrow, story of the night things went bad. Others, based on much weightier investigation, traced the series of bad decisions BP made that ultimately led to catastrophe. Both, in their way, would have been considered backgrounders to the news development.
Synthesis — Looking for common threads that can broaden a story’s impact. Blundell offers the example of a series of mishaps in the city of San Diego that made the city ripe for a feature on its dubious claim to being the American capital of civic embarrassment.
Localization — Examining big events or developments in smaller ways — either by taking a national or global event and examining its impact within the writer’s local area or by viewing a broad, thematic problem — post-traumatic stress disorder in the military, for example — through the experiences of an individual whose story represents the more universal experience. (In his book, Writing for Your Readers , Donald Murray writes: “Most good stories say one thing. They tell the story not of a battle, but of a soldier: they talk not about governance, but a deal; they discuss not a socioeconomic group, but reveal a person and a life.” Blundell writes that it is easier for most feature writers to be miniaturists than muralists.)
Projection — Looking beyond the news development by writing a story that considers how the news affects a person or group of people. In Richtel’s story about the dangers of cell phones and driving, he builds the story around one young man whose life was shaken when he ran a stop light and took a life while talking on the phone.

Conceiving a story is only the first step. The reporter must go deep to report and write the story well. “To me,” Blundell writes, “the most important part of reporting is knowing what you need to make the story go.”

Reading: Blundell Chapter 3 and 4

Assignment: Students should either use materials posted on the Journalist’s Resource web site at the Shorenstein Center or developed at a research center at their university to identify and background a news or research development that can serve as the basis for developing a unique feature angle or approach. This feature should not profile, or tell the story of, either of an institution or an individual. Profiles will be assigned later in the semester. Instead students should look for features that either look behind a news development, such as the BP backgrounders described earlier, or features that look at the impact of a news development on those most directly affected by it or those who would be expected to translate it into policy. Students should keep in mind that they are conceiving and finding a thematic thread for a feature, not reporting a policy story filled with expert voices only. For example, if the Department of Defense releases data showing that suicides have increased in the military, the student might propose a feature like one published on page 1 of The New York Times in July 2010. It told the story of those working on a suicide hotline to keep anguished members of the military alive. The stories that grow out of this assignment should be substantial in their research and be worthy of between 1,300 and 1,500 words. They will be due in four weeks (Class 2 or Week 6).

By the second class of Week 3 students will be expected to have identified a topic and a way of approaching it that allows each to:

Craft a single-sentence theme statement establishing its focus.
Identify and obtain research-based material that will provide a specific contextual foundation for the story.
Provide at least four sources, with their contact information, and an explanation of why the student has chosen them.
Provide a brief reporting plan.

Class 2: The importance of backgrounding (starting the reporting process)

Too many students mistake reporting for a journalistic version of a police dragnet: They pull in everything they can find and then try to figure out what the story is. Such an approach results in stories riddled with holes and lacking any dominant focus. Reporting always demands lots of legwork. But that legwork must be informed by forethought, which, in turn, is informed by the process of backgrounding. Backgrounding moves a story from the conceptual stage to the point at which a reporter can draw up a well-established working thesis or plan, a focus which, while it might still change, sets the direction of future reporting and writing.

“The good writers I know always do some kind of planning before they report,” writes Blundell.

Part of that planning means to review what’s been written about the topic before, both to find useful information and to see what hasn’t been broached. It means identifying and locating documents to help establish a line of questioning and lend authority to the story. It means identifying different kinds of sources, from the “rabbis,” who point the way but rarely are quoted to “wise men,” who can offer a big picture overview of the landscape; and from authorities who can give the official version of things to what Blundell calls the “street-level” people who live the story and among whom the reporter likely will find a central character.

In this class, students will begin with a discussion of the steps needed to background a story well and then apply those steps to the individual stories they have begun researching. Among the issues that will be discussed are: Where to look for authoritative sources and digital or print documents, how to distinguish between different kinds of sources, and how to use background material to establish a line of questioning, identify potential sources and narrow the story’s focus.

READING/ASSIGNMENT:

Agree with Blundell’s assessment of the theme of the story as expressed on page 116
Find that the story stays tightly focused on the thematic Blundell describes. In each case, students should explain why the agree or disagree.
Continue background work on first feature.

Week 3: Honing the story’s approach

Class 1: Focus or theme statements

Nearly every effective and interesting story is built around a single, dominant theme, using varied types of material to develop it. Writers who fill stories with exhaustive documentation but fail to establish a clear storyline file copy that reads like a government report. Writers who cobble together a series of colorful scenes that are not connected by a clear story spine run the risk of confusing readers to the point at which they will turn away.

The best features engross or entertain readers as they inform them. They offer content, structure and style, or, as Carl Sessions Stepp writes, “typically … share the following three virtues: 1. storyline: a special idea 2. Surprise: compelling material and 3. Stylishness: engaging writing.

To arrive at 2 and 3, the writer must first establish 1, the storyline. “A limited tale well told has more impact and persuasiveness than a sweeping story that can’t be adequately illustrated,” Blundell writes.

It is difficult to write that limited tale, however, unless the reporter sets out on a course to report it. That usually means narrowing and sharpening the story’s concept to the point at which the writer can express it in a clear and specific theme or focus statement. (For example, on page 116, Blundell gives this theme statement for the profile he deconstructs in the same chapter: “My theme statement for this story was simple — the life and work of a real cowboy in an age of cowboy hype.”)

Most serious storytellers would agree with Blundell that writing such a theme sentence must precede the bulk of reporting. This does not suggest the journalist embarks on his reporting with a bias. It suggests he is reporting with purpose. If the reporter finds a better story along the way, he can recast the theme statement. But entering the reporting process without one is like running through brambles instead of along a clearly marked path. The reporter who chooses the brambles may still get to the end, but only with multiple nicks and cuts.

As students sharpen their stories’ themes, they should consider some of the questions Blundell raises in Chapter 4 (assigned earlier). They also might ask themselves these questions, among others:

Is the story’s scope too broad?
Do I have time to report and write a story of the scale I’m proposing?
Am I getting down to street level in my reporting?
Can I establish an element of suspense or anticipation at the outset of the story that isn’t answered until near the end?
Does something happen in the story? Does something change? (Action often informs character and stories are easier to construct if they arrive at a resolution. In his excellent book on narrative nonfiction, Writing for Story , author Jon Franklin notes that the best stories are built around sympathetic characters forced to confront and resolve a conflict or complication in their lives. “A story,” he writes, “consists of a sequence of actions that occur when a sympathetic character encounters a complicating situation that he confronts and solves.”)
Does the story’s contemporary context or its past make it more interesting to tell?

To help internalize the process of writing theme statements, students can be asked to select an article from the Journalist’s Resource web site, to deconstruct it and to craft a single theme sentence that captures its purpose. They then should compare their efforts, either in small groups or a discussion of the entire class.

Class 2: Pitching the story

Students will read their theme or focus statements aloud in class. These will be critiqued by the instructor and class. Using the memos submitted by students, the instructor should work with them to sharpen the focus of their stories and troubleshoot the direction of their reporting.

Reading: Blundell, page 95 (four stages), 126 to 140 and 148 to 152; Zinsser, pages 55 to 58; Stepp, 99 to 101 and 149 to 153.

The first draft of the 1,500-word public affairs feature article described above will be assigned for the second class of Week 5 (in two weeks).
Those students with a weak focus statement will be expected to recast them for the following class.
Students should come prepared to discuss which lead in Appendix 2 of Blundell’s book they consider most effective and why. They also should consider which ending they consider most effective and why.

Week 4: Organizing stories

Class 1: Leads and endings

Journalism textbooks love to categorize lead types. Among the feature leads they’ll list are anecdotal leads , short vignettes that exemplify or show what the main point of the story will tell; scene setters , that paint a picture and create a mood of a place central to a story’s central theme; zingers , short, sharp leads that pull readers in with a quick turn of phrase or sharp contrast; and narrative leads , which foreshadow what’s to come and build suspense without giving away the story’s ending.

Categories aside, though, every lead serves the same purpose and has the same mission: To engage readers immediately and to do so well enough to keep them reading.

Reporters, particularly those writing for newspapers or web sites, don’t have the time or space to luxuriate in the scenes they create. They cannot afford to waste space or words. They must, in the words of E.B. White, “make every word tell.” This is as true in writing features as in writing news. The forms and style change. The mission remains the same.

In his book, On Writing Well , William Zinsser puts it like this: “The most important sentence in any article is the first one. If it doesn’t induce the reader to proceed to the second sentence, your article is dead.”

He notes that leads must not only force the reader to keep reading but that to do so, each sentence must do “real work.” It needs to build on the sentence before, to introduce information even as it entices or draws the reader in.

Leads must do something else: They must be honest. A lead about a shark surfacing a few feet from a swimmer off Cape Cod likely would draw the reader to the next sentence. But if the story had nothing to do with sharks other than they were swimming in the waters near a controversial site where offshore windmills will soon be built, the lead would be deceptive and tangential to the story. A lead must fit the story — in its content, its tone and its direction. Readers will resent the writer who deceives.

The second most important sentence in a good feature is its last. It should leave the reader with a sense of finality or resolution, a strong image, a reminder of the story’s main theme. The best endings both surprise and resonate. This is not the long windup of the college English essay. Students are urged to leave out their editorial opinions and to eschew that dreadful term-paper transition: “in conclusion.” Instead, the best stories stop, sometimes abruptly, often before the reader is quite ready.

When an opening anecdote or scene introduces a broader theme, the writer often circles back or bookends the story to where it began. Stories that return to where they began offer a sense of symmetry, a sense of completion. Other stories end by looking ahead, to the future. Or, in the case of narrative, they reach the solution readers have been seeking since they were enticed into the story in the opening scene.

The best way to learn to write different kinds of leads and endings is to (a) read many writers and take note of their approaches and (b) to try multiple leads and endings to the same story.

In this session, the class should discuss Blundell’s four stages on page 95. The first. “tease me, you devil” is the anecdotal or scene-setter lead of the conventional public affairs feature and, perhaps, the first chapter of the pure narrative. The second stage, “tell me what you’re up to” is the nut graph , the paragraph or two in traditional features that resolves the anecdote before it by telling what it showed and then, by placing it in broader context. The second stage is a theme or focus statement with a bit more muscle on the bone. The third stage, “I’m from Missouri. You’ll have to prove what you just said,” is the story’s middle, its evidence and its story development, often woven together. And the last, “I’ll buy it. Help me remember,” is the ending.

In addition to critiquing the leads and endings in Blundell’s Appendix B, the class, time permitting, might either evaluate how well one piece meets these four stages and/or recast the lead for one of the stories, a means of matching their wits against a master and also, perhaps, proving to themselves that no story has a single right lead.

Reading: Blundell, Chapter 5; Stepp, pages 141 to 149, 182 to 192; 52 to 54

Class 2: Managing the middle

Good organization can’t rectify weak content. That’s why students should start this class by playing close heed to Blundell’s “rule of threes” (page 54), a means of layering strong reporting into story. The author notes that readers need repetition to understand ideas and concepts. But, he adds, that repetition should take different forms. So, for example, if a sentence says the catch of Gulf oystermen has been cut by a third since the BP oil spill, the next sentence should give a specific example, perhaps showing the diminished haul of the story’s main character on a specific day. The third sentence might be a salty quote from that main character on how bad things have become.

Fact, followed by example, followed by quote: That is one application of the rule of threes. Working in tandem, these different kinds of story “proofs” build knowledge and entertain the reader. The rule of threes also can apply to multiple examples from different places. If, for example, new research shows a rise in foreclosures in more states, the reporter might give examples from three of them.

Regardless of their structure, stories work well when like ideas are kept together. Those ideas might be related material, as in the rule of threes, or related themes. A feature about preparations to enforce Arizona’s harsh new immigration law would have one section that looks at the efforts of those interested in enforcing the law and another that examines efforts of opponents to block that enforcement. It would not whipsaw back and forth from one group to the other.

Since we all live by the clock — 24 hours a day, seven days in a week, four weeks in a month, and so forth — writing often works well if at some point it returns to the beginning and progresses to the end. The story, in other words, is organized chronologically . When explanatory passages or sections are needed, writers can step back from this chronological framework by alternating expository “chapters” with the personal narrative ones.

In class, students should analyze Blundell’s story about the loss of farmland in Chapter 5 (it begins on page 103), reviewing not only its structure but the content he musters. Does he apply the rule of threes? In what ways? Does he keep like ideas together? In what way? Contrast this story to the story that begins on page 114. This story relies heavily on chronology for its structure.

Reading: Review Blundell, Chapter 4; Read Stepp, page 72 to 76, 138 to 139

Assignment: Students should come prepared to discuss the following:

William Blundell writes: “The story is happening on streets where there are no PR men strewing palms in the reporter’s path, no computers disgorging blocks of seductive statistics, and a lot of people who have nothing to gain from doing pirouettes for the press. This territory can be tough on strangers, but we have to go there to gather details and direct experiences that show the reader what we’re talking about.”Students should discuss what he means by this. Blundell further suggests that a good half of reporting can be spent seeking the right person to talk to at that street level. Students should discuss how close to that street level they’ve gotten in their reporting and what else they might do to close the gap.
Students also should consider whether and how they’ve used Blundell’s method of planning and execution to inform their reporting and come prepared to discuss this. Has it helped them? Confused them? Have they applied it or ignored it? Why?

Each student should weigh:

What gaps remain in reporting his or her story.
Whether the reporting has unearthed sound, research-based data at the story’s foundation.
Whether or not the data is recent.
Whether sources interviewed carry authority.
Whether they show a range and balance.
Whether they take the story to street level.

Week 5: Working through the reporting process

Class 1: Reporting at ground level

This class will be run like a newsroom in which the instructor, as editor, coaches students through the latter stages of their reporting process. Students should be challenged to defend their initial theme statement. Does it still stand up? Should it be tweaked in any way? They should be pressed on what data they’ve gathered to support that premise. And they should be asked to explain and, if necessary, defend their choice and breadth of sources.

Reading: Stepp, pages 85-88

Assignment: Each student should craft a two- to three-page memo containing the following:

An updated theme or focus statement
A list of primary points that support that focus, tied, if possible, to Blundell’s six question areas on pages 70-75.
A lead that shows (or, as Blundell says, teases)
A nut graph (or graphs) that establishes the story and summarizes its main point.
A contextual section that places the story into a broader perspective and reinforces its main point
Sections or chapters built around like ideas
Anecdote or scenes interspersed as examples. These support the ideas and reintroduce the main character.
A closing section that circles back to the main character.
An example to support each primary story point.
A summary of research-based evidence that supports the story’s main thesis.
An assessment of what reporting gaps remain and how they might be filled.

Class 2: Outlining the story

Students, working in teams of two, should read each other their revised theme statements (and consult the instructor on an as-needed basis). Teammates should listen as readers and coach as editors. Each should ask his or her teammate to talk through the story. What did he/she find most interesting? What alternative leads has he/she attempted? What gaps does the story have?

After finishing the critiques, each student should:

Read through notes and mark key facts, key quotes and key examples
Fast-draft a rough lead through the nut graph
Identify contextual material that would enhance the story
Order key points/facts that should be in the story
Identify interior scenes that belong in the story
Highlight any information that needs to be verified or double-checked.

In organizing key points, students should remember to keep like ideas together. They should seek examples that support all general statements. Some long-form feature writers work with a master chronology that sets all facts and scenes in a timeline of when they took place. This helps with fact checking and with chronological organization.

Reading: Blundell, Chapter 7; Stepp, 51-57 and 176-192

Week 6: The roots of good writing

Class 1: Using language with style and precision

This class will review the elements of good journalistic writing, from active, right-branching sentences to specificity and simplicity of language. Among the issues instructors might touch on and model are:

The cadence, pace and rhythm of good writing. It should become second nature for students to read their work aloud.
Selective detail and its use. (Using Journalist’s Resource or news web sites, students might look for examples of selective detail that are enhanced by features and examples that detract because they don’t reinforce storyline.)
Specificity versus generality. How does Blundell’s rule of threes ensure specificity?
The use of analogy in translation and definition. (The value of comparing the unfamiliar to what we know.)
The importance of consistency of tone, person, tense and style.

After the discussion, students should draft either a lead anecdote or an interior scene from their stories. Some of these will be critiqued in class.

DUE: First draft of 1,500-word backgrounder or impact feature. Selected stories will be due the night before class so they can be distributed to the entire class in advance.

Class 2: Workshopping first drafts

Selected students should read their stories aloud, discuss obstacles they faced in drafting them, explain how they tried to overcome these obstacles, and identify what they liked best about their stories and what they lacked confidence in. Classmates then will weigh in with their critiques.

Reading: pages 76 and 77 (Blundell’s profile outline) and these stories in his book: pages 44 to 47 and 242 to 248 (personal profiles), 248 to 254 (institutional profile) and 114 to 119 (occupational profile).

Assignment: Students weigh the differences between a profile, a depth interview with a subject and story about their background. What does Blundell mean when he says that profiles, like other stories, need a clear theme? Students also should try to determine some of the ways that Blundell’s outline on page 76 and 77 helped define the structure of his own work.

Week 7: The profile (personal and institutional)

Class 1: Finding a subject, finding a theme, finding out information

Few aspects of journalism are more interesting and challenging than to write about someone else, — to capture what motivates that individual, what makes that person “tick.” Profiles can be written as well about organizations and about what makes them distinctive or unusual. Good profiles demand backgrounding, patience, legwork, independent engagement and curiosity.

First, however, the reporter has to answer the questions, “Whom should I profile and why?” Sometimes those answers can be found in the news: Who has surfaced as an interesting figure? Sometimes the answers can be found in something interesting that a subject does, or doesn’t do (note the profiles in Blundell’s book of the Disney corporation, still living in the shadow of its deceased founder.) Or the answers can be found by looking for someone who exemplifies a larger group or population in the news, a veteran with PTSD, for example. Whomever or whatever the subject, writers don’t merely want to catalogue that individual’s or company’s accomplishments. Corporate biographies and resumes serve that purpose. Profiles dig beneath the surface, capture the subject complete with quirks and blemishes. They help readers understand what makes someone “tick” and what lies behind that person’s passions.

As with other features, backgrounding plays a central role in establishing the profile’s theme. Backgrounding can help the reporter identify how a subject has changed and uncover inherent contradictions between the subject’s words and actions. It allows the writer to separate what has been written about someone from what hasn’t. And it can open doors. For example, when Pulitzer Prize-winner Tracy Breton of The Providence Journal interviewed two actresses co-starring in a theatrical performance, she had done “her homework.” She knew that decades earlier one had understudied for the other, a fact the actresses had forgotten until reminded and one that helped Breton break the ice.

The patience to gather information in varied ways often comes into play in reporting. Profiles require multiple interviews with a subject, preferably in a setting that shows who the person is.

Profiles also benefit from the times the reporter can simply observe. Author Gay Talese, one of the most respected of a generation in the 1960s that experimented with forms of narrative nonfiction storytelling, has written and spoken about “the art of hanging out,” of observing a subject and capturing the scenes that reflect that person’s manner and personality.

To learn about subjects, reporters don’t only interview them and read what they’ve written or what has been written about them. Reporters also interview others who can provide insight — family and friends, competitors and former employees, customers and patients. That’s legwork. Whom they seek out depends largely on what the story’s focus is. A profile of a Las Vegas card shark might lead to the subject’s high school or college math teacher, his mother and his competitors around the table. It likely wouldn’t call for an interview with his former piano teacher or swim coach.

To win a subject’s trust, reporters must show sincere interest in that individual. At the same time, the reporter has to maintain his or her independence. Good profiles reveal some aspect of a subject’s life. They are neither intended to promote nor diminish, simply show the subject as he or she really is.

Finally, reporters must be curious enough to delve beneath the surface. Most people have a public persona and a more private one. The profile writer wants to tap into both.

During this class, students will critique the profiles published in Blundell’s book and the elements of framing, reporting and writing interesting, informative profiles.

Assignment: In teams of three or four, students should research their professor, then draft a tentative focus or theme statement for a profile. It might focus on the professor’s research, a hobby or passion, his or her teaching style, some recent notable achievement (a book, for example) or something else. Teams should prepare to interview the professor “for story” during the next class, developing whatever themes their focus statements outline.

Class 2: Carrying out and critiquing an interview with the professor

A member of each team should read that team’s theme statement and other members should explain how the team decided on its focus. After all teams have finished, students will vote on which story offers the most promise. (Team members cannot vote for their own idea.) When the vote and subsequent discussion are finished, the winning team will interview the professor. Certain rules apply.

Questions cannot be read.
Team members should listen closely to the answer and try to build on each question in their subsequent question.
Students on the other teams, meanwhile, should observe, take notes, and evaluate the content and quality of their classmates’ interview. (They might consider, for example, how well each questioner engages, whether they are asking “open-ended” or “close-ended” questions, whether they are probing for emotion and insight as well as fact, and whether they appeared to be listening and taking cues for follow-up.)

After the interview and discussion about its effectiveness, the class should reflect on what steps would be needed to finish the profile.

Assignment: During the second class of next week, students will be expected to propose a profile subject and submit a theme or focus statement that identifies their approach. They should contact the subjects before preparing their pitches. They should also thoroughly background their subjects and identify at least two other people whom they can interview to develop the story further.

Reading: Article, “The Power of Listening,” Scanlan, Poynter Institute; “Rules to Interview By,” Rubinkowski, Poynter; Zinsser, pages 100 to 116; Stepp, 68 to 72; “Frank Sinatra has a Cold,” a Gay Talese profile, published in Esquire and available in full online. Finally, students should read Anna Quindlen’s essay from The New York Times “Hers” column on April 10, 1986. It begins with the words, “For most of my adult life, I have been a emotional hit-and-run driver, that is, a reporter.” The essay is an excellent starting point for a discussion of the ethics of depth reporting and interviewing.

Week 8: Interviewing for story

Class 1: Logistical and ethical considerations in interviewing for story

Successful interviews start with strong preparation and curiosity. Reporters who know next to nothing about their subject, who seem bored or hurried, who work off a set list of questions instead of listening to answers, who seek facts rather than knowledge or understanding, will leave with little.

Jacqui Banaszynski, a Pulitzer Prize-winning reporter and now a Knight professor at the University of Missouri, says at times the most effective question can be a sympathetic nod or an interjection, such as “really.” This keeps the subject talking. Granted. It is not wise to start an interview this way. But often reporters are so intent on their questions that they don’t hear the answers and don’t encourage subjects to say more, to elaborate.

The first step in interviewing for story is to choose the right setting, a place that shows something about the subject and a place in which the subject feels comfortable. Then, says Banaszynski, the reporter’s job is to “peel back the layers of the onion,” to get to the story behind the story, to engage the real subject not the public persona. This takes time, patience, lots of directed yet open-ended questions, and genuine interest in what the subject has to say. Bored reporters conduct boring interviews.

It’s no small matter for a green reporter to park the jitters before knocking on the door. Several things help:

Know as much as possible about the subject beforehand.
Prepare questions in advance, but never read them. Preparation helps the reporter think through the interview’s purpose. Their questions shouldn’t be obvious — or left sitting on the table.
Ask permission to tape as well as take notes. It can ease the anxiety of keeping up. But do take notes, listening for details and quotes and hints that bear follow-up.
Ease in with questions that relax the subject and establish rapport. The props of setting can help. Ask why the subject has chosen a particular meeting place. Comment on pictures on the wall.
Listen. The reporter’s job is not to ask brilliant questions but to get brilliant answers.

This class discussion should focus on the techniques and pitfalls of interviewing for story. It is a skill that requires instinct and humanity as well as thoughtful preparation. (Banaszynski describes it as a dance in which the reporter must lead, but the interview subject gets to choose the music.)

At times reporters don’t get the opportunity to interview a profile’s central character. Such was the case in Talese’s “Frank Sinatra Has a Cold.” Students should discuss how Talese compensated for this.

This session should end with a discussion of Quindlen’s essay. What are the ethical dilemmas raised by interviewing for story and emotion as well as for information? What are the ethical responsibilities of the reporter in setting out on a project that will involve considerable revelation on the part of the subject (for example, a profile of a family caring for an Alzheimer’s patient)?

Assignment: Students should prepare a memo for pitching their profiles, which should be roughly 1,500 words in length. The memo should include:

A theme or focus statement
Key background information about the subject.
Key contacts and contact information for the subject and other people the student will interview to gain insight.
A few reflective paragraphs considering the story’s approach in the context of Blundell’s story development criteria on pages 76 and 77.

Class 2: Pitching profile ideas

Students will read their theme statements aloud and explain why they’ve proposed specific profile approaches. Students and instructor should react to each theme statement and offer constructive criticism. Those students lacking clear themes will be expected to recast their theme statements for the following class.

Week 9: The writer’s voice

Class 1: How voice emerges

Inexperienced writers frequently make the mistake of approaching “voice” as something that can be superimposed. They overwrite, laboring to create something that neither sounds like them nor reflects their style. In On Writing Well , Zinsser cautions that his students seem determined to “create an act of literature,” only relaxing paragraphs into a story to emerge as themselves.

Students should rest assured. For the writer who reads widely and writes frequently, voice emerges naturally over time. It is not a construct of big words and fancy phrases, nor is it an affected effort to sound carefree and breezy. It is not a celebration of the writer’s opinion. It comes from within, something akin to a slightly more polished version of the writer’s spoken voice.

Writes Stepp: “Voice probably comes more naturally than most writers believe. Many writers describe the struggle to ‘find’ their voice, but most writers’ voices will emerge spontaneously if they just clear away some of the obstructing professional underbrush: the artificial constraints, expectations, and hobgoblins that haunt many newsrooms, writing studios, and writer-editor collaborations. Writers who are steeped in good material, relaxed and enthusiastic about their assignment, comfortable in their surroundings, and encouraged to be original and inventive do not have to find a voice It rings out intuitively.”

In this class, students should discuss what concerns they have about voice and how they believe they should and have gone about developing it. They should then take a scene or section of their revised first features and write through it as they might tell a friend. The class should listen to a few of these and critique them.

Class 2: Workshopping the revised first feature

The instructor should identify two or three students who will be asked in advance to distribute their work to the class. They should read their stories aloud in class, be given the opportunity to discuss what worked for them and where they struggled. Then classmates should weigh in with a discussion of these stories, starting with what they liked best and then making suggestions for improvement.

Week 10: Working through the reporting process

Class 1: Sharpening the story’s angle and content

Both classes in this week largely replicate the critiquing and outlining goals set in Week 5, with the instructor acting as coach to shepherd students through the latter stages of their reporting process.

Students should be asked whether their initial focus holds up; what facts, examples, quotes and scenes they have to support it; who they’ve interviewed (in addition to their profile subject) and what these individuals have to add. Much class time will be spent troubleshooting obstacles to reporting.

Each student should craft a two- to three-page memo containing the following:

A brief summary of key details, anecdotes and examples that give support to the theme.
A structural design for the story (at some point within most profiles, the writer moves chronologically through at least a portion of the subject’s life)
A summary of key insights into the subject provided by other sources.

Class 2: Building an outline

Week 11: Workshop profile drafts

The instructor should keep a list throughout the semester of which students have read their work in front of the class. All students should have their work subjected to class-wide critique before any individual is given a second opportunity.

Class 1: Workshop profile drafts

Assignment: Bring a local newspaper and The New York Times to the next class.

Class 2: Finding stories off the news

Reporters need to be nimble. The best, it is said, can “speed” as well as “bleed.” The feature writer often does not have the luxury to report and write depth public affairs stories. She’s given a day to find, report and write a story, not a week or two. This places even more weight on the challenge of conceiving something interesting and narrowing its scope. Writing stories on deadline can be a high-wire act. The reporter must gather fact and push for scene, show patience and interest in interview subjects yet race the clock, write and revise, but on the same afternoon.

Next week, the class will be expected to pitch and then write a feature off the news in the two to three days between classes. This class is designed to help students identify stories off the news.

Asking a number of questions of the news can help:

Who is left out?
Who is affected? How?
What’s behind the news? (An 85-year-old becomes a citizen or graduates. Why?)
How does the past inform the story? (The calendar and unusual anniversaries suggest stories daily.)
What led up to the news?
What’s the reaction to the news? (Blundell’s moves and counter-moves.)
Who is the person behind the newsmaker?
How can the reporter localize a national or international event?
Do a number of similar actions — beaches closed for a high bacteria count — constitute a trend?
Can the reporter show this, or other developments, by taking readers to a place?

In teams, reporters should scour the day’s paper, drawing up and prioritizing a list of possible features that might be turned quickly. The class will critique and respond to each team’s ideas.

Assignment: Background and write theme statements for two stories off the news. Students will be assigned one during the next class to turn in 48 hours.

Week 12: Pouring it on

Class 1: Pitching the feature off the news

In this class, the instructor should coach students toward features they can reasonably report and write in a day or two. This discussion should reinforce the importance of ingenuity and scope in turning features fast.

Class 2: Workshop features off the news

This class should begin with a discussion of the challenges of turning features fast. As time permits, students should workshop these efforts.

Week 13: Finding a niche

Class 1: Researching publications, framing queries

The topsy-turvy pace of technological changes makes this an extraordinary time to start a career in journalism. In some ways, it has never been easier to be published: Register for a blog at WordPress or Blogspot and write. It’s that easy. In other ways, it’s rarely been harder to get noticed and paid. Students interested in doing serious journalism should pursue a few parallel paths. Even in college, they can begin building their “brand,” a word that still makes older journalists shudder (their job was to cover the news, not market themselves or be the news). Students can build brand by building a website, preferably one named after them. This should be linked to blogs, a Facebook account, Twitter accounts, a resume and examples of their writing that they hope someone significant in the world will visit and read.

If today’s journalism students should act aggressively in asserting a voice and marketing their work, they also should be smart and circumspect about what they post. Too many horror stories circulate today about students denied jobs because of ill-advised party pictures posted on social media accounts. As a rule of thumb, students should sleep on anything they are tempted to post in the glow of the moment.

Marketing freelance work has been streamlined in the digital age. Most newspapers and some magazines today prefer emailed query letters pitching an article to letters sent by post.

Again, however, speed can kill rather than enhance. Sizable percentages of pitches never make it past the first gatekeeper (often an intern) for a variety of reasons:

A misspelled name
A letter sent to the wrong editor
A letter sent to the right editor at the wrong publication
Grammatical errors
Spelling errors
Ill-conceived or boastful ideas
Efforts to negotiate price before a piece is sold
Offers to write for free

Once again in journalism, the query begins with research. Reporters need to research not only stories and story ideas but which publications serve an audience that would read them. They can learn a great deal about publications, their freelance guidelines and their freelance rates in the library’s most recent edition of Writer’s Market or by subscribing online to WritersMarket.com.

As a rule, query letters should be a single page long. At their best, they show a writer’s talent and sell a clearly conceived and substantive story that fits the publication’s style and audience.

The query’s first paragraph tries to hook the reader very much like the first sentence of a feature does. This, however, is not the place for elegant anecdotes. It is best to settle for a quick turn lead, one that grabs the reader’s attention. The second paragraph pitches the story’s particulars. How long is the piece the writer is proposing? How will it develop? What’s its purpose? The third paragraph introduces the writer and answers the question “why me — why this writer?” This is where writers talk about special qualities — expertise, access to the subject, experience. The final or closing paragraph makes clear that the writer will follow up.

The entire letter should be businesslike. Pleading or begging editors for a chance does not work. One more tip: Always call the publication before sending a query to check whether an editor still works there, what the editor’s title is, and how to spell his or her name.

In addition to discussing queries, instructors should consider inviting in a local newspaper or magazine editor to talk about the queries they’ve received, which queries they liked and which ones they discarded immediately. Such visits give students a chance to network, a significant aspect of building a niche.

Assignment: Students should research a publication to which they will pitch one of their articles from the semester. They should come to the next class knowing the appropriate editor’s name and title, the submission guidelines of the publication, and the nature of the articles it publishes.

Class 2: Writing and revising the query

Students will spend this class crafting and revising query letters for one of their stories from the semester. In most cases, these should be ready to email to the publication by the end of class.

Exam week: Revised profiles are due

Tags: training

About The Author

The Journalist's Resource

January 21, 2024

How to Write a Feature Article: Crafting Captivating Stories

Julia mccoy.

Creator and Co-founder

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

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

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

Ready? Let’s dive in!

1. Human Interest Stories

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

2. News Features

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

3. Lifestyle Features

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

4. Seasonal Features

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

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

5. Interview Pieces

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

6. Color Stories

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

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

7. Profile Features

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

8. Behind The Scenes

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

9. Travel Features

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

10. Instructional Features

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

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

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

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

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

Step 1: Evaluate Your Story Ideas

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

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

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

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

To effectively evaluate potential story ideas:

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

Step 2: Do Your Research

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

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

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

Step 3: Choose a Feature Type

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

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

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

Step 4: Select an Appropriate Writing Style

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

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

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

Step 5: Craft a Compelling Headline

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

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

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

Tips for creating catchy headlines:

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

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

Step 6: Open With Interest

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

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

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

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

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

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

Step 7: Be Creative with Storytelling

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

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

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

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

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

Content Hacker provides more insights into this aspect.

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

Step 8: End With A Bang

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

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

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

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

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

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

Build a Solid Narrative

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

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

Structure for Impact

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

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

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

Edit Like A Pro

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

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

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

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

Get Feedback

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

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

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

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

Then you edit with precision — every word matters.

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

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

It’s time to build your blog empire.

Want to be a real Content Hacker along with us, but not sure where to start?

We’ve got custom-created resources just for you, friend.

Get inside the Content Hacker Community ❤️ – at just $20/month, it’s a no-brainer. On-call, expert support, live calls, and so much more.

Want to go deeper? Check out our AIO Blogger course – an immersive one-week course teaching you everything you need to know to build a money-making online blog.

Can’t WAIT to welcome you inside.

with gratitude,

Become a Content Hacker

Collaborate with other growth-minded, savvy Content Hackers – plus a host of experts. The price of two coffees/month gets you in.

Cancel Anytime
For the Price of 2 Coffees a Month
100% Risk Free

Where marketers and founders get the content strategy, skills, and systems to grow exponentially online.

Join thousands of Content Hackers learning smarter content and business strategies.

PRO Courses Guides New Tech Help Pro Expert Videos About wikiHow Pro Upgrade Sign In
EDIT Edit this Article
EXPLORE Tech Help Pro About Us Random Article Quizzes Request a New Article Community Dashboard This Or That Game Popular Categories Arts and Entertainment Artwork Books Movies Computers and Electronics Computers Phone Skills Technology Hacks Health Men's Health Mental Health Women's Health Relationships Dating Love Relationship Issues Hobbies and Crafts Crafts Drawing Games Education & Communication Communication Skills Personal Development Studying Personal Care and Style Fashion Hair Care Personal Hygiene Youth Personal Care School Stuff Dating All Categories Arts and Entertainment Finance and Business Home and Garden Relationship Quizzes Cars & Other Vehicles Food and Entertaining Personal Care and Style Sports and Fitness Computers and Electronics Health Pets and Animals Travel Education & Communication Hobbies and Crafts Philosophy and Religion Work World Family Life Holidays and Traditions Relationships Youth
Browse Articles
Learn Something New
Quizzes Hot
This Or That Game
Train Your Brain
Explore More
Support wikiHow
About wikiHow
Log in / Sign up
Education and Communications
Article Writing

How to Write a Feature Article

Last Updated: March 11, 2024 Approved

This article was co-authored by Mary Erickson, PhD . Mary Erickson is a Visiting Assistant Professor at Western Washington University. Mary received her PhD in Communication and Society from the University of Oregon in 2011. She is a member of the Modern Language Association, the National Communication Association, and the Society for Cinema and Media Studies. There are 7 references cited in this article, which can be found at the bottom of the page. wikiHow marks an article as reader-approved once it receives enough positive feedback. This article has 41 testimonials from our readers, earning it our reader-approved status. This article has been viewed 1,463,300 times.

Writing a feature article involves using creativity and research to give a detailed and interesting take on a subject. These types of articles are different from typical news stories in that they often are written in a different style and give much more details and description rather than only stating objective facts. This gives the reader a chance to more fully understand some interesting part of the article's subject. While writing a feature article takes lots of planning, research, and work, doing it well is a great way to creatively write about a topic you are passionate about and is a perfect chance to explore different ways to write.

Choosing a Topic

Human Interest : Many feature stories focus on an issue as it impacts people. They often focus on one person or a group of people.
Profile : This feature type focuses on a specific individual’s character or lifestyle. This type is intended to help the reader feel like they’ve gotten a window into someone’s life. Often, these features are written about celebrities or other public figures.
Instructional : How-to feature articles teach readers how to do something. Oftentimes, the writer will write about their own journey to learn a task, such as how to make a wedding cake.
Historical : Features that honor historical events or developments are quite common. They are also useful in juxtaposing the past and the present, helping to root the reader in a shared history.
Seasonal : Some features are perfect for writing about in certain times of year, such as the beginning of summer vacation or at the winter holidays.
Behind the Scenes : These features give readers insight into an unusual process, issue or event. It can introduce them to something that is typically not open to the public or publicized.

Step 4 Consider the audience you’d like to talk to.

Interviewing Subjects

Step 1 Schedule an interview at a time and place convenient for the interviewee.

Schedule about 30-45 minutes with this person. Be respectful of their time and don’t take up their whole day. Be sure to confirm the date and time a couple of days ahead of the scheduled interview to make sure the time still works for the interviewee.
If your interviewee needs to reschedule, be flexible. Remember, they are being generous with their time and allowing you to talk with them, so be generous with your responses as well. Never make an interviewee feel guilty about needing to reschedule.
If you want to observe them doing a job, ask if they can bring you to their workplace. Asking if your interviewee will teach you a short lesson about what they do can also be excellent, as it will give you some knowledge of the experience to use when you write.

Be sure to ask your interviewee if it’s okay to audio-record the interview. If you plan to use the audio for any purpose other than for your own purposes writing up the article (such as a podcast that might accompany the feature article), you must tell them and get their consent.
Don't pressure the interviewee if they decline audio recording.

Step 6 Confirm details about your interviewee.

Another good option is a question that begins Tell me about a time when.... This allows the interviewee to tell you the story that's important to them, and can often produce rich information for your article.

Preparing to Write the Article

Step 1 Choose a format for your article.

Start by describing a dramatic moment and then uncover the history that led up to that moment.
Use a story-within-a-story format, which relies on a narrator to tell the story of someone else.
Start the story with an ordinary moment and trace how the story became unusual.

Step 2 Decide on approximate length for the article.

Check with your editor to see how long they would like your article to be.

Consider what you absolutely must have in the story and what can be cut. If you are writing a 500-word article, for example, you will likely need to be very selective about what you include, whereas you have a lot more space to write in a 2,500 word article.

Writing the Article

Start with an interesting fact, a quote, or an anecdote for a good hook.
Your opening paragraph should only be about 2-3 sentences.

Step 2 Expand on your lead in the second paragraph.

Be flexible, however. Sometimes when you write, the flow makes sense in a way that is different from your outline. Be ready to change the direction of your piece if it seems to read better that way.

Finalizing the Article

Step 1 Check for accuracy, and check again.

You can choose to incorporate or not incorporate their suggestions.

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

If you want to convey slightly more information, write a sub-headline, which is a secondary sentence that builds on the headline.

Step 6 Submit your article by the deadline.

How Do You Come Up With an Interesting Angle For an Article?

Sample Feature Article

Community Q&A

Ask to see a proof of your article before it gets published. This is a chance for you to give one final review of the article and double-check details for accuracy. Thanks Helpful 0 Not Helpful 0

Be sure to represent your subjects fairly and accurately. Feature articles can be problematic if they are telling only one side of a story. If your interviewee makes claims against a person or company, make sure you talk with that person or company. If you print claims against someone, even if it’s your interviewee, you might risk being sued for defamation. [9] X Research source Thanks Helpful 0 Not Helpful 0

↑ http://morrisjournalismacademy.com/how-to-write-a-feature-article/
↑ https://www.nytimes.com/learning/students/writing/voices.html
↑ http://careers.bmj.com/careers/advice/view-article.html?id=20007483
↑ http://faculty.washington.edu/heagerty/Courses/b572/public/StrunkWhite.pdf
↑ https://www.apstylebook.com/
↑ http://www.entrepreneur.com/article/166662
↑ http://www.nolo.com/legal-encyclopedia/libel-vs-slander-different-types-defamation.html

About This Article

To write a feature article, start with a 2-3 sentence paragraph that draws your reader into the story. The second paragraph needs to explain why the story is important so the reader keeps reading, and the rest of the piece needs to follow your outline so you can make sure everything flows together how you intended. Try to avoid excessive quotes, complex language, and opinion, and instead focus on appealing to the reader’s senses so they can immerse themselves in the story. Read on for advice from our Communications reviewer on how to conduct an interview! Did this summary help you? Yes No

Send fan mail to authors

Reader Success Stories

Kiovani Shepard

Nov 8, 2016

Did this article help you?

Sky Lannister

Apr 28, 2017

Emily Lockset

Jun 26, 2017

Christian Villanueva

May 30, 2018

Richelle Mendoza

Aug 26, 2019

Featured Articles

Watch Articles

Terms of Use
Privacy Policy
Do Not Sell or Share My Info
Not Selling Info

wikiHow Tech Help Pro:

Level up your tech skills and stay ahead of the curve

- Google Chrome

Intended for healthcare professionals

Access provided by Google Indexer
My email alerts
BMA member login
Username * Password * Forgot your log in details? Need to activate BMA Member Log In Log in via OpenAthens Log in via your institution

Search form

Advanced search
Search responses
Search blogs
How to write a feature...

How to write a feature article

Related content
Peer review
Rebecca Ghani , freelance journalist, London
bexghani{at}live.co.uk

Interested in writing for a medical journal? Rebecca Ghani finds out from the experts where you can start

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

So where do you go from here?

Know the publication

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

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

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

Know your audience

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

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

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

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

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

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

When is a feature not a feature?

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

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

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

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

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

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

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

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

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

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

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

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

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

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

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

Liaise with your editor

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

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

Agree a word count and deadline and stick to them.

Be organised

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

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

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

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

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

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

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

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

Interviewees

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

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

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

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

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

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

Competing interests: None declared.

From the Student BMJ .

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

404 Not found

Maths Acceleration
English Advanced
Maths Standard
Maths Advanced
Maths Extension 1
Maths Standard 2
Maths Extension 2
UCAT Preparation
English Standard
Business Studies
Legal Studies
UCAT Preparation Course Online

Select a year to see available courses

Level 7 English
Level 7 Maths
Level 8 English
Level 8 Maths
Level 9 English
Level 9 Maths
Level 9 Science
Level 10 English
Level 10 Maths
Level 10 Science
VCE English Units 1/2
VCE Biology Units 1/2
VCE Chemistry Units 1/2
VCE Physics Units 1/2
VCE Maths Methods Units 1/2
VCE English Units 3/4
VCE Maths Methods Units 3/4
VCE Biology Unit 3/4
VCE Chemistry Unit 3/4
VCE Physics Unit 3/4
Castle Hill
Strathfield
Sydney City
Inspirational Teachers
Great Learning Environments
Proven Results
Jobs at Matrix
Events and Seminars
Book a Free Trial

How To Write An Amazing Feature Article In 5 Steps

Need to write a feature article for class? Don't worry, in this article, we show you how to write an amazing feature article in 5 steps!

Get free study tips and resources delivered to your inbox.

Join 75,893 students who already have a head start.

" * " indicates required fields

Related courses

Year 7 english term, year 7 english, year 8 english term, year 8 english, year 9 english online, year 9 english term.

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

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

Characteristics of a feature article.

Different types of feature articles

Language used in feature articles

Research / Planning
Header / Title
Introduction

What is a feature article?

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

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

Feature articles are more subjective and emotive.

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

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

A feature article should,

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

Different types of feature articles:

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

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

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

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

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

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

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

How to write an amazing feature article in 5 steps

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

Step 1: Research and Planning

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

We will need to research, plan and research again!

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

a. Research the general topic

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

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

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

b. Narrow your focus and plan

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

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

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

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

c. Research evidence

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

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

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

Here are some examples you should look for:

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

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

Step 2: Header / Title

Feature articles are known for their eye-catching headers!

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

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

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

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

So, how do you write catchy headlines?

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

Step 3: Introduction

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

They set the scene and draw interest from the audience.

Think about a narrative’s 3 Act Structure:

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

Feature articles function in the same way.

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

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

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

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

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

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

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

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

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

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

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

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

Step 4: Body

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

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

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

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

a. Show don’t tell

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

Let’s take a look at an example:

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

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

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

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

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

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

b. Be creative

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

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

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

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

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

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

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

c. Support your opinions

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

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

Case studies
Quotes from critics or experts

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

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

Step 5: Conclusion

We are at the final stage of your feature article!

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

However, it is quite the opposite.

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

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

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

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

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

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

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

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

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

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

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

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

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

Written by Matrix English Team

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

Year 7 English tutoring at Matrix will help your child improve their reading and writing skills.

Learning methods available

Level 7 English course that covers every aspect of the new Victorian English Curriculum.

Year 8 English tutoring at Matrix is known for helping students build strong reading and writing skills.

Level 8 English course that covers every aspect of the new Victorian English Curriculum.

Year 9 English tutoring at Matrix is known for helping students build strong reading and writing skills.

Jarif’s Hacks: How I Stopped Wasting Time and Began Acing My Subjects

Have you ever been distracted by your phone or got bored whilst studying? Well, in this article, Jarif shares how he stopped wasting time and began acing subjects instead!

blog-english-junior-year-9-10-how-to-find-and-analyse-themes-in-texts-hero

How To Find And Analyse Themes In Texts – Step-By-Step | Free PEEL Paragraph Planner

Are you struggling to find and analyse themes in your texts? Well, you came to the right place to learn how!

How To Build Strong Skills To Beat The Literacy Decline

Falling English skills are in the headlines again. In this article, we look at why and offer five tips to help your child build strong skills to beat the literacy decline.

Career Advice

Dec 02, 2016

How To Write A Feature Article | FAQs

Ever felt the impulse to write a feature article — or been required to as part of a job— but not known where to start?

The process is simple in theory:

Step 1: Come up with an idea, or several ideas mixed together

Step 2: Develop a topic proposal or story pitch

Step 3: Work out a practical plan of action. This should include where to go, who to speak to, and your research and preparation for the actual writing stage

Step 4: Draft and redraft your article until its ready to send off

In this short video, Andre Wiesner, Head Tutor of the UCT Feature Journalism online short course , takes you through this process in more detail: from the inception of initial ideas and the preparation required before writing, to sending your finished piece off to an editor.

Want to hone your creativity and become a feature journalist?

TELL ME MORE

Transcription The process you follow in writing a feature article will differ from one situation to the next, but in general it’s follows a logical production sequence. Your feature article begins with an idea, or several of them mixed in together: something you saw on the news, something you overheard, whatever. Those initial ideas could be small and vague or big and clear. If you think there’s saleable story in them, you find out some more information and develop a topic proposal, or story pitch, to give to an editor. Or, sometimes, the editor comes to you with the idea. The next step is work out a practical plan of action. Speaking personally, the big questions in my own mind at this stage are, Who to speak to, and Where to go? In feature Journalism, you have to interview any number of people, from one to a dozen or more, and you also have to get out to where the action of your story to be able to see things first-hand as far as possible. At some point you begin to prepare for the actual writing: transcribing recorded interviews, digesting field notes and other research, plotting out the article roughly as it will play on the page. Then the real work begins: drafting and redrafting the work until it’s right and ready for you to hit the send button on your email. The story’s off the editor for more work and revision, and after a while, hey, what do you know? The story’s been published. That, my friends, is when you craft the most important thing any writer can produce: your invoice for goods delivered.

Filed under: Career advice Writing

Social share:

Sign up to our newsletter

Fill in your details to receive newsletters from GetSmarter and edX, inclusive of news, thought-leadership content, and the latest blog posts.

By consenting to receive communications, you agree to the use of your data as described in our privacy policy . You may opt out of receiving communications at any time.

Success! You have been subscribed.

Visit our blog to see the latest articles.

1. Researching, Writing and Presenting Information - A How To Guide: Writing a Feature Article

Brainstorming and Planning
Effective Research
Note-taking
Writing an Essay
Writing a Discussion
Writing an Exposition
Writing a Rationale
Years 11 & 12
Writing a Blog Post
Writing a Feature Article
Preparing Oral Presentations
Creating a Podcast
Technologies
Effective Proofreading Skills
Glossary of Common Instruction Terms
Glossary of Literary Terms
How to use Appendices
How to paraphrase

Writing an Article

Feature articles explore issues, experiences, opinions and ideas. They present research in an engaging and detailed piece of writing. Features articles are written using language and content tailored to their chosen audience. Always refer to your task guidelines for specific instructions from your teacher.

A Step by Step Guide To Planning Your Article

1. Topic - what is the idea, issue or experience that you intend to explore?

2. Audience - who is the target audience of the publication that will contain your feature article?

3. Purpose - why are you exploring this issue, idea or experience?

4. Research the publication. Remember that each publication has a specific target audience and a distinct style of writing. If you’re writing for a well-known magazine, journal or newspaper, find some examples of feature articles to get an idea of the layout, structure and style.

5. Research your topic. Research will ground your article in fact. Good details to include in your article are statistics, quotes, definitions, anecdotes, references to other media (print, film, television, radio) or references to local venues or events (if for a regional/local publication).

Draws attention to the main idea of the article
Encourages the reader to engage with the article

Introduction - the first paragraph

Establishes tone
Provides necessary background information
Includes a hook or unusual statement
Heightens drama or importance of topic to increase appeal
May include subheadings
Personal viewpoints
Quotes, interviews, expert opinions
Specific names, places and dates
Photographs, diagrams, tables and graphs
Suggests an appropriate course of action
Encourages reader to change attitude or opinion
Reinforces article's main idea

Language features of an Article

The language features of an article will depend upon the purpose and audience; usually, the vocabulary of the article will fit the topic content, and who it is targeted at.

Direct quotes - personalises the topic
Imagery and description - engage reader's imagination
Facts & research - validate the viewpoints being presented
Anecdotes - personalise & maintain interest
Relevant jargon - increases authenticity
Personal tone - created using informal, colloquial language and first person narrative where relevant to purpose and audience
<< Previous: Writing a Blog Post
Next: Preparing Oral Presentations >>
Last Updated: Sep 15, 2022 2:24 PM
URL: https://stcc.libguides.com/c.php?g=926682

DEVELOPING A FEATURE ARTICLE

A feature article is composed in order to explain how something works or is developed over time, informing the public of something new and/or important, and interpreting complex information in an understandable and appealing way. Basically, you may be doing one or more of the following:

describing the parts of your object and their interrelationships,
tracing the history of the object and describing its changes,
describing the object’s qualities and characteristics, and
analysing the object’s value.

To achieve this effectively, use a combination of the following strategies.

(1) Define terms and differentiate them from other similar ones. This is very useful while writing about a large topic with many subdivisions, aspects and categories. By defining it, you are specifying the parameters in which you will explain it. Consider using sentence or paragraph-length definitions for complicated topics, and parenthetical definitions for less complicated ones.

(2) Give an analogy. For example, using the same principle as an overhead projector, an epidiascope projects three-dimensional images onto a screen using a magnified beam of light. This gives the reader the gist of what you are saying and makes complicated terms and processes easier to grasp. In the same light, you can contrast the term to what it is opposite to or different from.

(3) Give examples that illustrate the functions or properties of the topic you are explaining. This helps the reader put the topic in context and thus relate to it better.

(4) Compare the topic with others to show its special features or common attributes. As with analogies, comparisons are useful in helping the reader classify the topic in a category with which s/he is familiar, and/or to understand the innovation or specific nature of the described object.

(5) Describe the properties/qualities of an object or situation and detail how it works or how it occurs and under what circumstances.

(6) Suggest reasons for a situation or development. This is useful when you think the reader is likely to ask the question ‘why’. It justifies a current state of affairs by explaining what caused it to come into being.

(7) Tell a story that illustrates your discussion. This is useful in making conceptual information more concrete by describing a ‘physical’ situation where the ideas you are talking about were at play. Stories are very effective in assisting the reader to visualise and, therefore, to better understand, your description.

(8) Describe a process. This is a way to show how something is done, a protocol or procedure. Describing processes also comes into play when giving instructions on how to conduct a task.

(9) Describe applications. This emphasises the practical aspects of research, by showing how inventions and discoveries can be used in everyday life.

(10) Use visual aids, such as a diagram or photograph. If you choose this strategy, make sure you explain in your text what the visual is intended to show and how it fits in your written explanation. To avoid digressing from your text to explain a diagram, consider using side-bars that contain visuals and text, and provide self-sufficient information that complements the information presented in the body of the article.

Using articles (a / an / the) in english grammar.

Using articles (a / an / the) in English grammar is quite tricky and puzzling. These articles (a, an or the) are complex words for students to learn. But, do not be troubled anymore if you are having difficulty with them. Simply follow the basic rules and exercise with the following examples. The present post […]

Technical Translation

Technical translation is the type of translation, which requires a considerable amount of understanding and skill. A technical translator is not only a translator, but also a specialist and an expert in the related field. Technical translation is required to translate machine installation manual, patent papers, user manual, research papers, project reports and thesis, etc. […]

Organisation Of Content In Features

Usually, most of the business and technology magazine articles are organised according to the following methods. (1) Descriptive method “ This method focuses on the product analysis or the development concerning its constituent parts. While following this method, it is essential to describe the product qualities and benefits, as well as explain the possible applications […]

Anatomy of a Magazine: How to a Create a Feature

Delving into the anatomy of a magazine, one discovers the essential components that make features stand out. The structure includes engaging narratives, captivating visuals, and in-depth research, all carefully woven together. The process begins with identifying topics that resonate with the magazine’s audience. This is followed by thorough investigation and creative storytelling.

Table of Contents

Photographers and designers play a crucial role, adding visual depth that complements the written word. This holistic approach ensures that each feature informs, entertains, and reflects the magazine’s identity. It showcases the intricate anatomy that defines its appeal.

Crafting In-depth Stories in the Anatomy of a Magazine

Within a magazine’s anatomy, parts of a magazine layout, such as feature articles, are pivotal elements that captivate, inform, and engage readers. These in-depth stories are the essence of magazine journalism, offering a deeper dive into topics than the more news-oriented sections.

They enrich the reader’s understanding and add substantial value to the magazine’s content mix. This makes them indispensable for maintaining reader interest and loyalty.

The Importance of Features in Magazines

Feature articles, as integral parts of a magazine layout, serve a dual purpose: to entertain and to inform. They provide writers with the canvas to explore subjects in a nuanced and detailed manner. This goes far beyond the constraints of news reports or brief columns.

This depth of exploration allows readers to immerse themselves in stories and understand different perspectives. It also helps them gain comprehensive insights into complex issues. As such, features are crucial for creating a solid connection between the magazine and its audience. This enhances its reputation as a source of valuable and thought-provoking content.

Components of a Compelling Feature Article

Engaging Narrative: The heart of a feature article is its narrative. A compelling story engages readers from the outset, weaving facts, anecdotes, and insights into a cohesive and captivating narrative . This narrative drive distinguishes features from other parts of a magazine layout, inviting readers to delve deep into the subject matter.

Strong Visual Elements: Visual elements are integral to a magazine layout and are crucial in feature articles. High-quality photographs, infographics, and custom illustrations can complement the narrative by providing visual breaks. They add layers of meaning to the story. These elements enhance the aesthetic appeal and aid the reader’s comprehension and retention of the article’s key points.

In-depth Research and Insight: A feature article’s strength lies in its foundation of thorough research and insightful analysis. Journalists spend considerable time gathering information, interviewing experts, and sifting through data to present a well-rounded view of the topic. This meticulous approach ensures that the feature is engaging but also informative and credible.

Personalized and Contextualized Content: Features stand out in the parts of a magazine layout by offering personalized and contextualized content. They often focus on human interest stories, providing a personal touch that resonates with readers. By situating stories within broader societal, cultural, or historical contexts, features help readers. They understand the topic’s significance in a broader scope.

Feature articles are vital components in the anatomy of a magazine, representing critical parts of a magazine layout. They offer in-depth explorations of topics that engage, inform, and resonate with readers. Features enrich the magazine’s content landscape through engaging narratives, solid visual elements, thorough research, and personalized content. They make them indispensable for crafting compelling stories that captivate the audience.

Structure of a Feature Article in the Anatomy of a Magazine

In the vibrant world of magazine publishing, the feature article stands as a centerpiece. It captivates readers with in-depth stories and insightful analysis. Understanding the structure of a feature article is crucial. This knowledge helps to appreciate how it fits within the broader structure of a magazine.

This section delves into the components of a feature article: lead, body, and conclusion. It highlights how each part is pivotal in engaging the reader and providing a satisfying narrative journey.

The Anatomy of a Magazine Feature

The Lead – Capturing Attention: A feature article’s lead, or introduction, is its first and perhaps most critical component. It immediately grabs the reader’s attention, enticing them to delve deeper into the story. A well-crafted lead can take various forms: an intriguing anecdote, a compelling fact, or a provocative question.

This section sets the tone for the article. It is designed to pique curiosity, ensuring the reader is engaged. In the structure of a magazine, where competition for the reader’s attention is fierce, the lead acts as the hook. It draws them into the narrative.

More Features

The Body – Building the Narrative: Following the lead, the body of the feature article presents the bulk of the story. This is a crucial component within the structure of a magazine. The writer unfolds the narrative, weaving research, interviews, analysis, and personal observations into a cohesive and compelling story.

The body is structured to guide the reader through the article, providing substantive content that informs, entertains, and provokes thought. This reflects the overall structure and intent of the magazine.

Subsections within the body may focus on different aspects of the topic, offering varied perspectives or exploring related themes. Visual elements such as photographs, infographics, and sidebars complement the text, adding depth and context.

The structure of the magazine feature, an integral part of the overall structure of a magazine, is flexible. This flexibility allows writers to adapt the narrative flow to best suit the story’s needs and maintain reader engagement throughout.

The Conclusion – Wrapping Up: The conclusion of a feature article wraps up the narrative, offering closure to the story. It may revisit the initial premise presented in the lead or reflect on the insights gained through the article. Alternatively, it could pose a concluding thought or question to the reader. A firm conclusion leaves a lasting impression, encouraging readers to reflect on the article long after reading it.

Crafting Compelling Narratives

The structure of a feature article is a fundamental aspect of its success within the structure of a magazine. By carefully crafting the lead, body, and conclusion, writers create a narrative journey that engages readers and provides them with valuable insights. This approach leaves a lasting impact. This framework ensures that each feature article contributes to the magazine’s goal. It aims to offer its audience informative, entertaining, and thought-provoking content.

Person on laptop working on the anatomy of a magazine.

Elements That Define the Anatomy of a Magazine Feature

The anatomy of a magazine feature is composed of various elements that work together to create an engaging and informative piece. Understanding what is the format of a magazine and how these elements contribute to the overall effectiveness of a feature article is essential for both readers and creators.

This section explores the key components, such as headlines, subheadings, pull quotes, and images, and their roles in enhancing magazine features’ storytelling and visual appeal.

Headlines: The Entry Point

Headlines are the entry point to any magazine feature, designed to capture the reader’s attention with compelling and succinct language, embodying what is the format of a magazine. A well-crafted headline establishes the article’s tone, giving readers insight into the story’s theme or focus.

Within the format of a magazine, the headline is not just a title; it’s a promise of the value the article will provide, whether it’s insight, entertainment, or information, highlighting the critical role of headlines in engaging readers and setting expectations for the content that follows.

Subheadings: Structuring the Narrative

Subheadings serve as guideposts throughout the feature article, breaking down the content into manageable sections that structure the narrative, reflecting what is the format of a magazine. They provide clarity and organization, making the article more accessible to readers scanning for specific information.

Subheadings give a chance to add extra creativity and insight into the piece, aligning with the format of a magazine. This further engages the reader and encourages continued reading, showcasing the critical role of subheadings in the overall magazine format.

Pull Quotes: Highlighting Key Moments

Pull quotes, selected snippets of text pulled directly from the article and highlighted within the layout, illustrate what is the format of a magazine. These elements fulfill various functions: highlighting key points or quotes, dividing large text blocks, and adding visual appeal to the page.

Pull quotes specifically help to communicate the article’s main themes within the magazine’s format. They engage readers more deeply by spotlighting significant or thought-provoking statements, demonstrating their crucial role in enhancing the readability and attractiveness of magazine content.

Images: Enhancing the Story

Images are vital components in the anatomy of a magazine feature, adding a visual dimension that complements and enhances the narrative. Whether photographs, illustrations, or infographics, images help to set the scene, illustrate key concepts, and evoke emotions.

In the format of a magazine, the interplay between text and images is carefully curated to ensure that each visual element contributes to the story’s overall impact, making the article more memorable and engaging.

The anatomy of a magazine feature, shaped by what is the format of a magazine, is defined by a combination of elements that work together to convey stories in a manner that is accessible, engaging, and visually appealing. Headlines, subheadings, pull quotes, and images are integral to this format, each uniquely enhancing the reader’s experience.

Grasping the contribution of these components to a feature article’s effectiveness is essential for crafting content that resonates with audiences. It also helps the content stand out in the competitive field of magazine publishing, illustrating the importance of understanding the format of a magazine in content creation.

Storytelling Techniques in the Anatomy of a Magazine Feature

The anatomy of a magazine layout is a complex framework designed to captivate and engage readers. Within this framework, storytelling techniques play a crucial role, especially in feature articles where the depth of narrative can truly shine.

These techniques, including narrative arcs, character development, and setting, are skillfully woven into the fabric of magazine features. They create stories that are not only informative but also profoundly relatable. These stories are compelling.

The Narrative Arc: Structuring the Story

Introduction to the Arc: The narrative arc is a fundamental element in the anatomy of a magazine feature, providing a structured approach to storytelling within the anatomy of a magazine layout. This arc guides the reader through a journey, beginning with an introduction that sets the stage.

It moves through a development phase where the story unfolds, integral to the anatomy of a magazine layout. The journey concludes with a resolution that ties up the narrative threads, showcasing the importance of a well-considered narrative structure in the overall design and flow of a magazine’s content.

Application in Magazine Features: In the context of magazine features, the narrative arc engages readers from the outset, drawing them into the story with a compelling hook. As the story progresses, the development phase builds tension and interest by exploring conflicts, challenges, or intriguing scenarios. The conclusion offers a resolution, leaving readers with a sense of closure or a lasting impression that encourages reflection.

Character Development: Bringing Stories to Life

Crafting Relatable Characters: Character development is another vital storytelling technique in the anatomy of a magazine layout. Characters are the heart of any story, whether real people in journalistic narratives or personas in more creative features. Developing these characters with depth and nuance makes the story relatable and engaging, allowing readers to connect personally.

Techniques for Character Development: Magazine features often utilize interviews, background research, and descriptive writing to flesh out characters. These techniques ensure that characters are portrayed authentically, showcasing their complexities, motivations, and transformations. Such detailed character development enriches the narrative, making the story more immersive and emotionally resonant.

Setting: Creating a Compelling Backdrop

Importance of Setting: The setting is the canvas on which the story unfolds, providing context and atmosphere that enrich the narrative. In magazine features, setting refers to the physical location and the cultural, social, or historical backdrop against which the story takes place.

Utilizing Setting in Magazine Features: Effective use of setting involves descriptive detail and sensory information to transport readers to the story’s locale, offering them a vivid experience. Whether it’s the bustling streets of a foreign city or the tranquility of a secluded natural landscape, the setting plays a crucial role. It sets the tone and enhances the narrative’s impact.

Storytelling techniques are integral to the anatomy of a magazine layout, particularly within feature articles. By employing narrative arcs, character development, and setting, writers can craft stories that are not only informative but also deeply engaging. These techniques ensure that magazine features transcend mere reporting, offering readers compelling narratives that resonate personally and emotionally.

Emotional and Intellectual Appeals in the Anatomy of a Magazine

In the diverse world of magazine publishing, presenting stories through various magazine layout examples is significant. It demonstrates a profound understanding. This understanding engages readers on multiple levels. Feature articles, in particular, stand out for their ability to make emotional and intellectual appeals, drawing readers into a more profound, more immersive reading experience.

This section explores how the anatomy of a magazine leverages these appeals to captivate the audience. It blends factual reporting with evocative storytelling to create memorable and impactful content.

Engaging the Heart: Emotional Appeals

Crafting Stories that Resonate: At the core of every feature article is a story designed to resonate emotionally with the reader. Through strategic narrative techniques, such as personal anecdotes, vivid descriptions, and compelling character arcs, writers tap into the readers’ emotions, fostering empathy, curiosity, and a sense of connection. This emotional engagement is crucial for making the content feel relevant and urgent, encouraging readers to invest themselves in the story.

Visuals that Speak to the Emotions: Magazine layout examples often highlight how visual elements contribute to the emotional appeal of feature articles. High-quality photographs, infographics, and illustrations break up the text, add aesthetic value, and are powerful tools for evoking feelings. A well-chosen image can convey the story’s mood, complement the narrative, and leave a lasting impression on the reader, enhancing the emotional depth of the article.

Engaging the Mind: Intellectual Appeals

Providing Depth and Context: While emotional appeals draw readers in, intellectual appeals keep them engaged, as seen in magazine layout examples. They satisfy their curiosity and provide a deeper understanding of the subject matter.

Feature articles excel by presenting well-researched information, expert insights, and in-depth analysis, a practice highlighted in various magazine layout examples. This approach ensures that readers are not only moved by the stories but also have a greater awareness and knowledge of the topics covered, demonstrating the effective use of layout design to enhance content comprehension and engagement.

Balancing Storytelling with Factual Reporting: The anatomy of a magazine feature article often showcases a delicate balance between storytelling and factual reporting. This balance is critical to making information impactful and memorable. Narrative storytelling techniques frame the factual content, making complex issues accessible and relatable.

At the same time, rigorous journalistic standards ensure that the reporting is credible and authoritative. This lends weight to the emotional narrative. It ensures that the intellectual appeal is grounded in truth.

As reflected in various magazine layout examples, the anatomy of a magazine demonstrates a sophisticated approach. It engages readers through emotional and intellectual appeals. By combining evocative storytelling with factual reporting, feature articles create a rich, multifaceted reading experience that captivates the audience.

This blend makes the information more impactful and memorable. It celebrates the power of magazines to inform, inspire, and evoke deep emotional responses in their readership.

Backbone of the Anatomy of a Magazine Feature

The anatomy of a magazine feature is intricate, with every component serving a vital role. Together, they craft a compelling narrative. Among the various parts of a magazine, thorough research and authenticity stand out as the backbone of any featured article. These elements are indispensable in establishing credibility. They engage the reader with content that is not only compelling but also trustworthy.

The Role of Research in Magazine Features

Foundation of Credibility: Thorough research underpins the credibility of a magazine feature, serving as the foundation upon which the entire article is built. This process involves delving into the subject matter to gather accurate, up-to-date information, statistics, and perspectives. By ensuring the facts are meticulously checked, and sources are reliable, writers and editors can present a story that readers can trust. This trust is crucial in today’s era of misinformation.

Depth and Diversity of Content: In-depth research allows writers to delve into their subject’s breadth and depth. This uncovers diverse perspectives and today’s insights, enriching the narrative. The depth of the content not only educates the reader but also introduces complex subjects to the story.

This enrichment makes the story both more engaging and more thought-provoking. The parts of a magazine feature, from the introduction to the concluding remarks, are strengthened by the robustness of the research behind them.

Authenticity as the Core of Engagement

Building a Connection with Readers: Authenticity transforms a well-researched article into a compelling story. It involves presenting the facts and narratives genuinely and transparently, allowing readers to connect with the story personally. Authentic storytelling resonates with audiences because it reflects real-life experiences and emotions. This makes the feature more relatable and memorable.

Ensuring Trustworthiness: The authenticity of a magazine feature not only engages readers but also reinforces the trustworthiness of the publication. Authenticity sets a magazine apart in an age where readers are bombarded with content from countless sources. It becomes a reliable source of information and insight. It assures readers that the magazine values truth and integrity, enhancing its reputation and reader loyalty.

Thorough research and authenticity are the backbone of the anatomy of a magazine feature, crucial for crafting compelling and trustworthy articles within the parts of a magazine. These elements ensure that the magazine’s content is credible, engaging, and resonates with readers on a deeper level, embodying the vital parts of a magazine.

By prioritizing these components, magazines can create informative and entertaining feature articles that uphold the highest standards of journalistic integrity, reinforcing the importance of each part of the magazine’s overall structure and mission.

Enhancing the Anatomy of a Magazine Feature

In magazine publishing, the synergy between textual content and visual design is pivotal in captivating the audience. This interplay is especially critical in the anatomy of a magazine feature, where the goal is to inform, engage, and entertain. Visuals such as photographs, infographics, and strategic layout choices like column structure and text formatting significantly enhance the reader’s experience. This section delves into how these elements, akin to the parts of a magazine cover, are integral. They elevate the storytelling and reader engagement of magazine features.

The Role of Visuals in Storytelling

Photographs – Windows to the Narrative: Photographs serve as windows to the narrative, offering readers a visual entry point into the story. They can convey emotions, set the tone, and provide context, complementing the textual content.

In the anatomy of a magazine feature, photographs capture the essence of the narrative and break up text-heavy pages, making the article more approachable and engaging. The selection of images is a careful process, ensuring they resonate with the story’s theme and enhance the overall reading experience.

Infographics – Simplifying Complex Information: Infographics, as parts of a magazine cover, are crucial in distilling complex information into easily digestible visuals, aiding the reader’s comprehension. These visual tools are often featured prominently as parts of a magazine cover and can summarize research findings, illustrate trends or explain processes straightforwardly and engagingly.

By integrating infographics, magazine features can cater to visual learners and those seeking a quick grasp of the subject matter, thus broadening their appeal. This inclusion highlights the importance of utilizing every part of the magazine cover to attract and inform readers.

The Impact of Layout on Reader Engagement

Column Structure – Guiding the Reader’s Journey: The column structure, while a fundamental aspect of a magazine feature’s layout, also echoes the strategic design seen in parts of a magazine cover, guiding the reader’s journey through the article.

A well-designed column layout not only organizes the content effectively and enhances readability within the feature but also mirrors the thoughtful organization and visual appeal necessary for parts of a magazine cover.

It allows for a natural flow of information, seamlessly leading the reader from one section to the next, much like the careful arrangement of elements on a magazine cover. Strategic use of columns can also create visual interest, encouraging readers to engage with the entire article.

Text Formatting – Enhancing Accessibility: Text formatting, encompassing font choices, size variations, and headings and subheadings, is vital for making articles accessible and reader-friendly. Effective text formatting breaks up dense blocks of information, making the feature more inviting.

Headings and subheadings serve as signposts, guiding the reader through the article. Varied font sizes emphasize key points, ensuring readers can easily navigate the article and grasp its main messages.

The thoughtful integration of visuals and layout significantly enhances the anatomy of a magazine feature. Photographs and infographics enrich the storytelling, offering emotional depth and clarity to complex subjects.

Meanwhile, the column structure and text formatting work together to guide the reader’s journey, ensuring the content is not only accessible but also engaging. Together, these elements are as crucial to the success of a magazine feature as the parts of a magazine cover are to its initial appeal. This makes the magazine a more vibrant and engaging medium for storytelling.

Mastering the Anatomy of a Magazine Feature Article

The anatomy of a magazine feature article is a complex, multifaceted entity comprising various elements that work in harmony to captivate, educate, and inspire readers. We’ve uncovered the essential components that make feature articles stand out by exploring magazine article layout examples and the intricate dance between text, visuals, and structure.

This concluding section synthesizes the key points discussed, reflecting on the art and significance of feature article writing. It highlights its profound impact on readers and the magazine industry.

The Essence of Feature Article Anatomy

A Harmonious Blend of Content and Design: The seamless integration of engaging content with thoughtful design is at the heart of a compelling magazine feature. This includes a well-researched and eloquently written narrative supported by striking visuals and a reader-friendly layout.

Photographs, infographics, and various text formatting techniques enhance the aesthetic appeal and reinforce the article’s message. These elements make complex information accessible and engaging.

Engaging Storytelling Techniques: Compelling storytelling is pivotal, utilizing narrative arcs, character development, and vivid settings to draw readers into the story, as illustrated by magazine article layout examples.

These techniques, showcased through various magazine article layout examples, allow writers to connect with their audience emotionally and intellectually. They transform mere facts into memorable experiences, demonstrating how the strategic use of layout can enhance the storytelling process.

The Impact of Well-Crafted Features

Shaping Reader Perception and Engagement: Masterfully crafted magazine features can shape reader perceptions, fostering a deeper understanding of diverse topics. These articles can significantly influence public discourse and spark conversations. They inspire action by striking the right balance between emotional appeal and factual integrity.

Enriching the Magazine’s Value: Beyond individual reader impact, outstanding feature articles contribute to the magazine’s overall value and reputation. They attract a loyal readership, eager for the unique insights and in-depth exploration that well-crafted features provide. This, in turn, elevates the magazine’s standing in a competitive media landscape.

Final Thoughts and Encouragement for Aspiring Writers

Mastering the anatomy of a magazine feature article is an ongoing journey, one that requires dedication, curiosity, and a willingness to experiment. The insights gleaned from examining magazine article layout examples and dissecting the components of successful features offer a roadmap for aspiring writers. By applying these principles, writers can create compelling, in-depth stories that resonate deeply with their audience.

As we reflect on the significance of feature article writing, let us remember the profound impact that well-crafted stories can have, akin to the power demonstrated in magazine article layout examples.

They inform, entertain, and connect us to the broader world, highlighting the shared human experience, much like the dynamic and engaging magazine article layout examples that visually complement these narratives. Aspiring writers are encouraged to embrace this craft, harnessing their unique voices and perspectives. This allows them to contribute meaningful, engaging content that enriches the tapestry of magazine publishing.

What is the anatomy of a magazine feature article?

The anatomy of a magazine feature article includes a harmonious blend of engaging narrative, compelling visuals, and strategic layout. Key elements such as headlines, subheadings, photographs, infographics, and text formatting captivate the reader, making complex information accessible and engaging.

How do visuals contribute to a magazine feature?

Visuals, including photographs and infographics, serve multiple purposes in a magazine feature. They capture emotions, set the tone, provide context, break up text-heavy sections, and simplify complex information, enhancing the storytelling and making the article more engaging and memorable.

What storytelling techniques are used in magazine features?

Compelling magazine features employ storytelling techniques like narrative arcs, character development, and vivid settings. These techniques draw readers into the story, allowing them to connect emotionally and intellectually, transforming facts into memorable experiences.

Why are well-crafted magazine features essential?

Well-crafted magazine features shape reader perceptions, foster more profound understanding, influence public discourse, and inspire action. They also contribute to the magazine’s overall value and reputation, attracting a loyal readership and elevating its standing in the competitive media landscape.

How can aspiring writers create compelling magazine features?

Aspiring writers can create compelling magazine features by dedicating themselves to thorough research, practicing eloquent and engaging writing, integrating striking visuals, and applying effective storytelling techniques. Studying magazine article layout examples and understanding the balance between content and design are crucial in mastering the craft.

Learn How To Develop Launch-Ready Creative Products

Download How to Turn Your Creativity into a Product, a FREE starter kit.

Create a Memorable Social Media Experience

Get the content planner that makes social media 10x easier.

Invite Your Customers To A Whole New World

Create a unique user experience.

Maximize Your Brand and Make Your Mark

Custom brand assets will take you to new heights.

Mind Mapping: What You Need to Know

Branding: How to Use Social Media Strategies

Side Hustle: How to Navigate the Legal Landscape

Headlines: How to Ensure Credibility in Writing

Content Writing: How to Enhance Creativity

Content Creation Calendar: How to Use SEO

An official website of the United States government

The .gov means it’s official. Federal government websites often end in .gov or .mil. Before sharing sensitive information, make sure you’re on a federal government site.

The site is secure. The https:// ensures that you are connecting to the official website and that any information you provide is encrypted and transmitted securely.

Publications
Account settings

Preview improvements coming to the PMC website in October 2024. Learn More or Try it out now .

Advanced Search
Journal List
J Pharmacol Pharmacother
v.4(2); Apr-Jun 2013

The critical steps for successful research: The research proposal and scientific writing: (A report on the pre-conference workshop held in conjunction with the 64 th annual conference of the Indian Pharmaceutical Congress-2012)

Pitchai balakumar.

Pharmacology Unit, Faculty of Pharmacy, AIMST University, Semeling, 08100 Bedong. Kedah Darul Aman, Malaysia

Mohammed Naseeruddin Inamdar

1 Department of Pharmacology, Al-Ameen College of Pharmacy, Bengaluru, Karnataka, India

Gowraganahalli Jagadeesh

2 Division of Cardiovascular and Renal Products, Center for Drug Evaluation and Research, US Food and Drug Administration, Silver Spring, USA

An interactive workshop on ‘The Critical Steps for Successful Research: The Research Proposal and Scientific Writing’ was conducted in conjunction with the 64 th Annual Conference of the Indian Pharmaceutical Congress-2012 at Chennai, India. In essence, research is performed to enlighten our understanding of a contemporary issue relevant to the needs of society. To accomplish this, a researcher begins search for a novel topic based on purpose, creativity, critical thinking, and logic. This leads to the fundamental pieces of the research endeavor: Question, objective, hypothesis, experimental tools to test the hypothesis, methodology, and data analysis. When correctly performed, research should produce new knowledge. The four cornerstones of good research are the well-formulated protocol or proposal that is well executed, analyzed, discussed and concluded. This recent workshop educated researchers in the critical steps involved in the development of a scientific idea to its successful execution and eventual publication.

INTRODUCTION

Creativity and critical thinking are of particular importance in scientific research. Basically, research is original investigation undertaken to gain knowledge and understand concepts in major subject areas of specialization, and includes the generation of ideas and information leading to new or substantially improved scientific insights with relevance to the needs of society. Hence, the primary objective of research is to produce new knowledge. Research is both theoretical and empirical. It is theoretical because the starting point of scientific research is the conceptualization of a research topic and development of a research question and hypothesis. Research is empirical (practical) because all of the planned studies involve a series of observations, measurements, and analyses of data that are all based on proper experimental design.[ 1 – 9 ]

The subject of this report is to inform readers of the proceedings from a recent workshop organized by the 64 th Annual conference of the ‘ Indian Pharmaceutical Congress ’ at SRM University, Chennai, India, from 05 to 06 December 2012. The objectives of the workshop titled ‘The Critical Steps for Successful Research: The Research Proposal and Scientific Writing,’ were to assist participants in developing a strong fundamental understanding of how best to develop a research or study protocol, and communicate those research findings in a conference setting or scientific journal. Completing any research project requires meticulous planning, experimental design and execution, and compilation and publication of findings in the form of a research paper. All of these are often unfamiliar to naïve researchers; thus, the purpose of this workshop was to teach participants to master the critical steps involved in the development of an idea to its execution and eventual publication of the results (See the last section for a list of learning objectives).

THE STRUCTURE OF THE WORKSHOP

The two-day workshop was formatted to include key lectures and interactive breakout sessions that focused on protocol development in six subject areas of the pharmaceutical sciences. This was followed by sessions on scientific writing. DAY 1 taught the basic concepts of scientific research, including: (1) how to formulate a topic for research and to describe the what, why , and how of the protocol, (2) biomedical literature search and review, (3) study designs, statistical concepts, and result analyses, and (4) publication ethics. DAY 2 educated the attendees on the basic elements and logistics of writing a scientific paper and thesis, and preparation of poster as well as oral presentations.

The final phase of the workshop was the ‘Panel Discussion,’ including ‘Feedback/Comments’ by participants. There were thirteen distinguished speakers from India and abroad. Approximately 120 post-graduate and pre-doctoral students, young faculty members, and scientists representing industries attended the workshop from different parts of the country. All participants received a printed copy of the workshop manual and supporting materials on statistical analyses of data.

THE BASIC CONCEPTS OF RESEARCH: THE KEY TO GETTING STARTED IN RESEARCH

A research project generally comprises four key components: (1) writing a protocol, (2) performing experiments, (3) tabulating and analyzing data, and (4) writing a thesis or manuscript for publication.

Fundamentals in the research process

A protocol, whether experimental or clinical, serves as a navigator that evolves from a basic outline of the study plan to become a qualified research or grant proposal. It provides the structural support for the research. Dr. G. Jagadeesh (US FDA), the first speaker of the session, spoke on ‘ Fundamentals in research process and cornerstones of a research project .’ He discussed at length the developmental and structural processes in preparing a research protocol. A systematic and step-by-step approach is necessary in planning a study. Without a well-designed protocol, there would be a little chance for successful completion of a research project or an experiment.

Research topic

The first and the foremost difficult task in research is to identify a topic for investigation. The research topic is the keystone of the entire scientific enterprise. It begins the project, drives the entire study, and is crucial for moving the project forward. It dictates the remaining elements of the study [ Table 1 ] and thus, it should not be too narrow or too broad or unfocused. Because of these potential pitfalls, it is essential that a good or novel scientific idea be based on a sound concept. Creativity, critical thinking, and logic are required to generate new concepts and ideas in solving a research problem. Creativity involves critical thinking and is associated with generating many ideas. Critical thinking is analytical, judgmental, and involves evaluating choices before making a decision.[ 4 ] Thus, critical thinking is convergent type thinking that narrows and refines those divergent ideas and finally settles to one idea for an in-depth study. The idea on which a research project is built should be novel, appropriate to achieve within the existing conditions, and useful to the society at large. Therefore, creativity and critical thinking assist biomedical scientists in research that results in funding support, novel discovery, and publication.[ 1 , 4 ]

Elements of a study protocol

An external file that holds a picture, illustration, etc.
Object name is JPP-4-130-g001.jpg

Research question

The next most crucial aspect of a study protocol is identifying a research question. It should be a thought-provoking question. The question sets the framework. It emerges from the title, findings/results, and problems observed in previous studies. Thus, mastering the literature, attendance at conferences, and discussion in journal clubs/seminars are sources for developing research questions. Consider the following example in developing related research questions from the research topic.

Hepatoprotective activity of Terminalia arjuna and Apium graveolens on paracetamol-induced liver damage in albino rats.

How is paracetamol metabolized in the body? Does it involve P450 enzymes? How does paracetamol cause liver injury? What are the mechanisms by which drugs can alleviate liver damage? What biochemical parameters are indicative of liver injury? What major endogenous inflammatory molecules are involved in paracetamol-induced liver damage?

A research question is broken down into more precise objectives. The objectives lead to more precise methods and definition of key terms. The objectives should be SMART-Specific, Measurable, Achievable, Realistic, Time-framed,[ 10 ] and should cover the entire breadth of the project. The objectives are sometimes organized into hierarchies: Primary, secondary, and exploratory; or simply general and specific. Study the following example:

To evaluate the safety and tolerability of single oral doses of compound X in normal volunteers.

To assess the pharmacokinetic profile of compound X following single oral doses.

To evaluate the incidence of peripheral edema reported as an adverse event.

The objectives and research questions are then formulated into a workable or testable hypothesis. The latter forces us to think carefully about what comparisons will be needed to answer the research question, and establishes the format for applying statistical tests to interpret the results. The hypothesis should link a process to an existing or postulated biologic pathway. A hypothesis is written in a form that can yield measurable results. Studies that utilize statistics to compare groups of data should have a hypothesis. Consider the following example:

The hepatoprotective activity of Terminalia arjuna is superior to that of Apium graveolens against paracetamol-induced liver damage in albino rats.

All biological research, including discovery science, is hypothesis-driven. However, not all studies need be conducted with a hypothesis. For example, descriptive studies (e.g., describing characteristics of a plant, or a chemical compound) do not need a hypothesis.[ 1 ]

Relevance of the study

Another important section to be included in the protocol is ‘significance of the study.’ Its purpose is to justify the need for the research that is being proposed (e.g., development of a vaccine for a disease). In summary, the proposed study should demonstrate that it represents an advancement in understanding and that the eventual results will be meaningful, contribute to the field, and possibly even impact society.

Biomedical literature

A literature search may be defined as the process of examining published sources of information on a research or review topic, thesis, grant application, chemical, drug, disease, or clinical trial, etc. The quantity of information available in print or electronically (e.g., the internet) is immense and growing with time. A researcher should be familiar with the right kinds of databases and search engines to extract the needed information.[ 3 , 6 ]

Dr. P. Balakumar (Institute of Pharmacy, Rajendra Institute of Technology and Sciences, Sirsa, Haryana; currently, Faculty of Pharmacy, AIMST University, Malaysia) spoke on ‘ Biomedical literature: Searching, reviewing and referencing .’ He schematically explained the basis of scientific literature, designing a literature review, and searching literature. After an introduction to the genesis and diverse sources of scientific literature searches, the use of PubMed, one of the premier databases used for biomedical literature searches world-wide, was illustrated with examples and screenshots. Several companion databases and search engines are also used for finding information related to health sciences, and they include Embase, Web of Science, SciFinder, The Cochrane Library, International Pharmaceutical Abstracts, Scopus, and Google Scholar.[ 3 ] Literature searches using alternative interfaces for PubMed such as GoPubMed, Quertle, PubFocus, Pubget, and BibliMed were discussed. The participants were additionally informed of databases on chemistry, drugs and drug targets, clinical trials, toxicology, and laboratory animals (reviewed in ref[ 3 ]).

Referencing and bibliography are essential in scientific writing and publication.[ 7 ] Referencing systems are broadly classified into two major types, such as Parenthetical and Notation systems. Parenthetical referencing is also known as Harvard style of referencing, while Vancouver referencing style and ‘Footnote’ or ‘Endnote’ are placed under Notation referencing systems. The participants were educated on each referencing system with examples.

Bibliography management

Dr. Raj Rajasekaran (University of California at San Diego, CA, USA) enlightened the audience on ‘ bibliography management ’ using reference management software programs such as Reference Manager ® , Endnote ® , and Zotero ® for creating and formatting bibliographies while writing a manuscript for publication. The discussion focused on the use of bibliography management software in avoiding common mistakes such as incomplete references. Important steps in bibliography management, such as creating reference libraries/databases, searching for references using PubMed/Google scholar, selecting and transferring selected references into a library, inserting citations into a research article and formatting bibliographies, were presented. A demonstration of Zotero®, a freely available reference management program, included the salient features of the software, adding references from PubMed using PubMed ID, inserting citations and formatting using different styles.

Writing experimental protocols

The workshop systematically instructed the participants in writing ‘ experimental protocols ’ in six disciplines of Pharmaceutical Sciences.: (1) Pharmaceutical Chemistry (presented by Dr. P. V. Bharatam, NIPER, Mohali, Punjab); (2) Pharmacology (presented by Dr. G. Jagadeesh and Dr. P. Balakumar); (3) Pharmaceutics (presented by Dr. Jayant Khandare, Piramal Life Sciences, Mumbai); (4) Pharmacy Practice (presented by Dr. Shobha Hiremath, Al-Ameen College of Pharmacy, Bengaluru); (5) Pharmacognosy and Phytochemistry (presented by Dr. Salma Khanam, Al-Ameen College of Pharmacy, Bengaluru); and (6) Pharmaceutical Analysis (presented by Dr. Saranjit Singh, NIPER, Mohali, Punjab). The purpose of the research plan is to describe the what (Specific Aims/Objectives), why (Background and Significance), and how (Design and Methods) of the proposal.

The research plan should answer the following questions: (a) what do you intend to do; (b) what has already been done in general, and what have other researchers done in the field; (c) why is this worth doing; (d) how is it innovative; (e) what will this new work add to existing knowledge; and (f) how will the research be accomplished?

In general, the format used by the faculty in all subjects is shown in Table 2 .

Elements of a research protocol

An external file that holds a picture, illustration, etc.
Object name is JPP-4-130-g002.jpg

Biostatistics

Biostatistics is a key component of biomedical research. Highly reputed journals like The Lancet, BMJ, Journal of the American Medical Association, and many other biomedical journals include biostatisticians on their editorial board or reviewers list. This indicates that a great importance is given for learning and correctly employing appropriate statistical methods in biomedical research. The post-lunch session on day 1 of the workshop was largely committed to discussion on ‘ Basic biostatistics .’ Dr. R. Raveendran (JIPMER, Puducherry) and Dr. Avijit Hazra (PGIMER, Kolkata) reviewed, in parallel sessions, descriptive statistics, probability concepts, sample size calculation, choosing a statistical test, confidence intervals, hypothesis testing and ‘ P ’ values, parametric and non-parametric statistical tests, including analysis of variance (ANOVA), t tests, Chi-square test, type I and type II errors, correlation and regression, and summary statistics. This was followed by a practice and demonstration session. Statistics CD, compiled by Dr. Raveendran, was distributed to the participants before the session began and was demonstrated live. Both speakers worked on a variety of problems that involved both clinical and experimental data. They discussed through examples the experimental designs encountered in a variety of studies and statistical analyses performed for different types of data. For the benefit of readers, we have summarized statistical tests applied frequently for different experimental designs and post-hoc tests [ Figure 1 ].

An external file that holds a picture, illustration, etc.
Object name is JPP-4-130-g003.jpg

Conceptual framework for statistical analyses of data. Of the two kinds of variables, qualitative (categorical) and quantitative (numerical), qualitative variables (nominal or ordinal) are not normally distributed. Numerical data that come from normal distributions are analyzed using parametric tests, if not; the data are analyzed using non-parametric tests. The most popularly used Student's t -test compares the means of two populations, data for this test could be paired or unpaired. One-way analysis of variance (ANOVA) is used to compare the means of three or more independent populations that are normally distributed. Applying t test repeatedly in pair (multiple comparison), to compare the means of more than two populations, will increase the probability of type I error (false positive). In this case, for proper interpretation, we need to adjust the P values. Repeated measures ANOVA is used to compare the population means if more than two observations coming from same subject over time. The null hypothesis is rejected with a ‘ P ’ value of less than 0.05, and the difference in population means is considered to be statistically significant. Subsequently, appropriate post-hoc tests are used for pairwise comparisons of population means. Two-way or three-way ANOVA are considered if two (diet, dose) or three (diet, dose, strain) independent factors, respectively, are analyzed in an experiment (not described in the Figure). Categorical nominal unmatched variables (counts or frequencies) are analyzed by Chi-square test (not shown in the Figure)

Research and publication ethics

The legitimate pursuit of scientific creativity is unfortunately being marred by a simultaneous increase in scientific misconduct. A disproportionate share of allegations involves scientists of many countries, and even from respected laboratories. Misconduct destroys faith in science and scientists and creates a hierarchy of fraudsters. Investigating misconduct also steals valuable time and resources. In spite of these facts, most researchers are not aware of publication ethics.

Day 1 of the workshop ended with a presentation on ‘ research and publication ethics ’ by Dr. M. K. Unnikrishnan (College of Pharmaceutical Sciences, Manipal University, Manipal). He spoke on the essentials of publication ethics that included plagiarism (attempting to take credit of the work of others), self-plagiarism (multiple publications by an author on the same content of work with slightly different wordings), falsification (manipulation of research data and processes and omitting critical data or results), gift authorship (guest authorship), ghostwriting (someone other than the named author (s) makes a major contribution), salami publishing (publishing many papers, with minor differences, from the same study), and sabotage (distracting the research works of others to halt their research completion). Additionally, Dr. Unnikrishnan pointed out the ‘ Ingelfinger rule ’ of stipulating that a scientist must not submit the same original research in two different journals. He also advised the audience that authorship is not just credit for the work but also responsibility for scientific contents of a paper. Although some Indian Universities are instituting preventive measures (e.g., use of plagiarism detecting software, Shodhganga digital archiving of doctoral theses), Dr. Unnikrishnan argued for a great need to sensitize young researchers on the nature and implications of scientific misconduct. Finally, he discussed methods on how editors and peer reviewers should ethically conduct themselves while managing a manuscript for publication.

SCIENTIFIC COMMUNICATION: THE KEY TO SUCCESSFUL SELLING OF FINDINGS

Research outcomes are measured through quality publications. Scientists must not only ‘do’ science but must ‘write’ science. The story of the project must be told in a clear, simple language weaving in previous work done in the field, answering the research question, and addressing the hypothesis set forth at the beginning of the study. Scientific publication is an organic process of planning, researching, drafting, revising, and updating the current knowledge for future perspectives. Writing a research paper is no easier than the research itself. The lectures of Day 2 of the workshop dealt with the basic elements and logistics of writing a scientific paper.

An overview of paper structure and thesis writing

Dr. Amitabh Prakash (Adis, Auckland, New Zealand) spoke on ‘ Learning how to write a good scientific paper .’ His presentation described the essential components of an original research paper and thesis (e.g., introduction, methods, results, and discussion [IMRaD]) and provided guidance on the correct order, in which data should appear within these sections. The characteristics of a good abstract and title and the creation of appropriate key words were discussed. Dr. Prakash suggested that the ‘title of a paper’ might perhaps have a chance to make a good impression, and the title might be either indicative (title that gives the purpose of the study) or declarative (title that gives the study conclusion). He also suggested that an abstract is a succinct summary of a research paper, and it should be specific, clear, and concise, and should have IMRaD structure in brief, followed by key words. Selection of appropriate papers to be cited in the reference list was also discussed. Various unethical authorships were enumerated, and ‘The International Committee of Medical Journal Editors (ICMJE) criteria for authorship’ was explained ( http://www.icmje.org/ethical_1author.html ; also see Table 1 in reference #9). The session highlighted the need for transparency in medical publication and provided a clear description of items that needed to be included in the ‘Disclosures’ section (e.g., sources of funding for the study and potential conflicts of interest of all authors, etc.) and ‘Acknowledgements’ section (e.g., writing assistance and input from all individuals who did not meet the authorship criteria). The final part of the presentation was devoted to thesis writing, and Dr. Prakash provided the audience with a list of common mistakes that are frequently encountered when writing a manuscript.

The backbone of a study is description of results through Text, Tables, and Figures. Dr. S. B. Deshpande (Institute of Medical Sciences, Banaras Hindu University, Varanasi, India) spoke on ‘ Effective Presentation of Results .’ The Results section deals with the observations made by the authors and thus, is not hypothetical. This section is subdivided into three segments, that is, descriptive form of the Text, providing numerical data in Tables, and visualizing the observations in Graphs or Figures. All these are arranged in a sequential order to address the question hypothesized in the Introduction. The description in Text provides clear content of the findings highlighting the observations. It should not be the repetition of facts in tables or graphs. Tables are used to summarize or emphasize descriptive content in the text or to present the numerical data that are unrelated. Illustrations should be used when the evidence bearing on the conclusions of a paper cannot be adequately presented in a written description or in a Table. Tables or Figures should relate to each other logically in sequence and should be clear by themselves. Furthermore, the discussion is based entirely on these observations. Additionally, how the results are applied to further research in the field to advance our understanding of research questions was discussed.

Dr. Peush Sahni (All-India Institute of Medical Sciences, New Delhi) spoke on effectively ‘ structuring the Discussion ’ for a research paper. The Discussion section deals with a systematic interpretation of study results within the available knowledge. He said the section should begin with the most important point relating to the subject studied, focusing on key issues, providing link sentences between paragraphs, and ensuring the flow of text. Points were made to avoid history, not repeat all the results, and provide limitations of the study. The strengths and novel findings of the study should be provided in the discussion, and it should open avenues for future research and new questions. The Discussion section should end with a conclusion stating the summary of key findings. Dr. Sahni gave an example from a published paper for writing a Discussion. In another presentation titled ‘ Writing an effective title and the abstract ,’ Dr. Sahni described the important components of a good title, such as, it should be simple, concise, informative, interesting and eye-catching, accurate and specific about the paper's content, and should state the subject in full indicating study design and animal species. Dr. Sahni explained structured (IMRaD) and unstructured abstracts and discussed a few selected examples with the audience.

Language and style in publication

The next lecture of Dr. Amitabh Prakash on ‘ Language and style in scientific writing: Importance of terseness, shortness and clarity in writing ’ focused on the actual sentence construction, language, grammar and punctuation in scientific manuscripts. His presentation emphasized the importance of brevity and clarity in the writing of manuscripts describing biomedical research. Starting with a guide to the appropriate construction of sentences and paragraphs, attendees were given a brief overview of the correct use of punctuation with interactive examples. Dr. Prakash discussed common errors in grammar and proactively sought audience participation in correcting some examples. Additional discussion was centered on discouraging the use of redundant and expendable words, jargon, and the use of adjectives with incomparable words. The session ended with a discussion of words and phrases that are commonly misused (e.g., data vs . datum, affect vs . effect, among vs . between, dose vs . dosage, and efficacy/efficacious vs . effective/effectiveness) in biomedical research manuscripts.

Working with journals

The appropriateness in selecting the journal for submission and acceptance of the manuscript should be determined by the experience of an author. The corresponding author must have a rationale in choosing the appropriate journal, and this depends upon the scope of the study and the quality of work performed. Dr. Amitabh Prakash spoke on ‘ Working with journals: Selecting a journal, cover letter, peer review process and impact factor ’ by instructing the audience in assessing the true value of a journal, understanding principles involved in the peer review processes, providing tips on making an initial approach to the editorial office, and drafting an appropriate cover letter to accompany the submission. His presentation defined the metrics that are most commonly used to measure journal quality (e.g., impact factor™, Eigenfactor™ score, Article Influence™ score, SCOPUS 2-year citation data, SCImago Journal Rank, h-Index, etc.) and guided attendees on the relative advantages and disadvantages of using each metric. Factors to consider when assessing journal quality were discussed, and the audience was educated on the ‘green’ and ‘gold’ open access publication models. Various peer review models (e.g., double-blind, single-blind, non-blind) were described together with the role of the journal editor in assessing manuscripts and selecting suitable reviewers. A typical checklist sent to referees was shared with the attendees, and clear guidance was provided on the best way to address referee feedback. The session concluded with a discussion of the potential drawbacks of the current peer review system.

Poster and oral presentations at conferences

Posters have become an increasingly popular mode of presentation at conferences, as it can accommodate more papers per meeting, has no time constraint, provides a better presenter-audience interaction, and allows one to select and attend papers of interest. In Figure 2 , we provide instructions, design, and layout in preparing a scientific poster. In the final presentation, Dr. Sahni provided the audience with step-by-step instructions on how to write and format posters for layout, content, font size, color, and graphics. Attendees were given specific guidance on the format of text on slides, the use of color, font type and size, and the use of illustrations and multimedia effects. Moreover, the importance of practical tips while delivering oral or poster presentation was provided to the audience, such as speak slowly and clearly, be informative, maintain eye contact, and listen to the questions from judges/audience carefully before coming up with an answer.

An external file that holds a picture, illustration, etc.
Object name is JPP-4-130-g004.jpg

Guidelines and design to scientific poster presentation. The objective of scientific posters is to present laboratory work in scientific meetings. A poster is an excellent means of communicating scientific work, because it is a graphic representation of data. Posters should have focus points, and the intended message should be clearly conveyed through simple sections: Text, Tables, and Graphs. Posters should be clear, succinct, striking, and eye-catching. Colors should be used only where necessary. Use one font (Arial or Times New Roman) throughout. Fancy fonts should be avoided. All headings should have font size of 44, and be in bold capital letters. Size of Title may be a bit larger; subheading: Font size of 36, bold and caps. References and Acknowledgments, if any, should have font size of 24. Text should have font size between 24 and 30, in order to be legible from a distance of 3 to 6 feet. Do not use lengthy notes

PANEL DISCUSSION: FEEDBACK AND COMMENTS BY PARTICIPANTS

After all the presentations were made, Dr. Jagadeesh began a panel discussion that included all speakers. The discussion was aimed at what we do currently and could do in the future with respect to ‘developing a research question and then writing an effective thesis proposal/protocol followed by publication.’ Dr. Jagadeesh asked the following questions to the panelists, while receiving questions/suggestions from the participants and panelists.

Does a Post-Graduate or Ph.D. student receive adequate training, either through an institutional course, a workshop of the present nature, or from the guide?
Are these Post-Graduates self-taught (like most of us who learnt the hard way)?
How are these guides trained? How do we train them to become more efficient mentors?
Does a Post-Graduate or Ph.D. student struggle to find a method (s) to carry out studies? To what extent do seniors/guides help a post graduate overcome technical difficulties? How difficult is it for a student to find chemicals, reagents, instruments, and technical help in conducting studies?
Analyses of data and interpretation: Most students struggle without adequate guidance.
Thesis and publications frequently feature inadequate/incorrect statistical analyses and representation of data in tables/graphs. The student, their guide, and the reviewers all share equal responsibility.
Who initiates and drafts the research paper? The Post-Graduate or their guide?
What kind of assistance does a Post-Graduate get from the guide in finalizing a paper for publication?
Does the guide insist that each Post-Graduate thesis yield at least one paper, and each Ph.D. thesis more than two papers, plus a review article?

The panelists and audience expressed a variety of views, but were unable to arrive at a decisive conclusion.

WHAT HAVE THE PARTICIPANTS LEARNED?

At the end of this fast-moving two-day workshop, the participants had opportunities in learning the following topics:

Sequential steps in developing a study protocol, from choosing a research topic to developing research questions and a hypothesis.
Study protocols on different topics in their subject of specialization
Searching and reviewing the literature
Appropriate statistical analyses in biomedical research
Scientific ethics in publication
Writing and understanding the components of a research paper (IMRaD)
Recognizing the value of good title, running title, abstract, key words, etc
Importance of Tables and Figures in the Results section, and their importance in describing findings
Evidence-based Discussion in a research paper
Language and style in writing a paper and expert tips on getting it published
Presentation of research findings at a conference (oral and poster).

Overall, the workshop was deemed very helpful to participants. The participants rated the quality of workshop from “ satisfied ” to “ very satisfied .” A significant number of participants were of the opinion that the time allotted for each presentation was short and thus, be extended from the present two days to four days with adequate time to ask questions. In addition, a ‘hands-on’ session should be introduced for writing a proposal and manuscript. A large number of attendees expressed their desire to attend a similar workshop, if conducted, in the near future.

ACKNOWLEDGMENT

We gratefully express our gratitude to the Organizing Committee, especially Professors K. Chinnasamy, B. G. Shivananda, N. Udupa, Jerad Suresh, Padma Parekh, A. P. Basavarajappa, Mr. S. V. Veerramani, Mr. J. Jayaseelan, and all volunteers of the SRM University. We thank Dr. Thomas Papoian (US FDA) for helpful comments on the manuscript.

The opinions expressed herein are those of Gowraganahalli Jagadeesh and do not necessarily reflect those of the US Food and Drug Administration

Source of Support: Nil

Conflict of Interest: None declared.

Salesforce is closed for new business in your area.

See us on facebook
See us on twitter
See us on youtube
See us on linkedin
See us on instagram

Myelination in the brain may be key to ‘learning’ opioid addiction

New research in mice by Stanford Medicine scientists has found that the process of adaptive myelination, which helps the brain learn new skills, can also promote addiction to opioids.

June 5, 2024 - By Nina Bai

Stanford Medicine research has found that adaptive myelination, the neuronal process by which we improve our skills, can lead to morphine addiction in mice. Sherry Young and Alex Mit - stock.adobe.com

Our brains, even in adulthood, continually adapt to what we do, strengthening or weakening neural pathways as we practice new skills or abandon old habits. Now, research by Stanford Medicine scientists has found that a particular type of neuroplasticity, known as adaptive myelination, can also contribute to drug addiction.

In adaptive myelination, more active brain circuits gain more myelin — the fatty insulation that allows electrical signals to travel faster and more efficiently through nerve fibers. Learning to juggle or practicing the piano, for example, gradually increases myelination in the brain circuits involved, optimizing for these abilities.

But the same adaptive myelination that is essential to learning, attention and memory has a dark side. In the new study in mice, researchers found that a single dose of morphine was enough to trigger the steps leading to myelination of dopamine-producing neurons — part of the brain’s reward circuitry — spurring the mice to seek out more of the drug. When myelination was blocked, the mice made no effort to find more morphine.

The new findings , published June 5 in Nature , show how using addictive drugs can drive maladaptive myelination of the brain’s reward circuitry, which in turn reinforces drug-seeking behavior.

Myelin matters

“Myelin development does not complete until we’re in our late 20s or early 30s, which is kind of fascinating,” said Michelle Monje , MD, PhD, the Milan Gambhir Professor in Pediatric Neuro-Oncology and senior author of the study.

Even after such a protracted developmental period, special cells in the brain called oligodendrocytes continue to generate new myelin in some brain regions.

“What we’ve come to understand over the last decade or so is that myelin, in some parts of the nervous system, is actually plastic and adaptable to experience,” Monje said. “The activity of a neuron can regulate the extent to which its axon is myelinated.”

Michelle Monje

Research in neuroplasticity has mostly focused on changes that occur at synapses — where neurons meet and communicate with each other. Adaptive myelination adds a new layer to how our brains learn from experience.

Much of the foundational knowledge about adaptive myelination has come from Monje’s lab. In 2014, her team reported that stimulating the premotor cortex of mice increased the myelination of neurons there and improved limb movement. Subsequent studies by her lab and collaborators have found that mice need adaptive myelination for spatial learning — to navigate a maze, for example, or to remember a threatening situation.

Reward learning

In the new study, Monje’s team wondered whether adaptive myelination was involved in reward learning. The researchers generated a rewarding experience in mice by giving them cocaine or morphine, or by directly stimulating their dopamine-producing neurons using optogenetic techniques.

Within three hours of a single injection of cocaine or morphine or 30 minutes of stimulation, the researchers were surprised to see a proliferation of the specialized stem cells that are destined to become myelin-producing oligodendrocytes. The proliferation was isolated to a brain region known as the ventral tegmental area, which is involved in reward learning and addiction.

“We didn’t think one dose of morphine or cocaine would do anything,” said Belgin Yalcin , PhD, lead author of the new study and an instructor in neurology and neurological sciences. “But within three hours there was a change. A very mild change, but still a change.”

Both the speed and specificity of the changes were unexpected, the researchers said.

When researchers repeated the drug injections or brain stimulation for several days, then examined the mice a month later, they indeed found more oligodendrocytes and more myelinated dopamine-producing cells, with thicker myelin around their axons, again only in the ventral tegmental area.

Even a slight thickening of myelin — in this case, by several hundred nanometers — can affect brain function and behavior.

“Details matter in terms of myelin plasticity,” Yalcin said. “So little can make such a big difference in conduction velocity and the synchronicity of the circuit.”

Potent rewards

To see how the myelination translated into behavior, the researchers placed each mouse in a box where it could move freely between two chambers. In one chamber, the mice received a daily injection of morphine. (The researchers decided to focus on morphine because of its relevance to the opioid epidemic.) After five days, the mice strongly preferred the chamber where they had received the drug and would linger there, hoping for another hit.

Belgin Yalcin

The morphine stimulated the mice’s reward circuitry (specifically, the dopamine-producing neurons in the ventral tegmental area), increased the myelination of these neurons and tuned their brains for further reward-seeking behavior.

Curiously, when the researchers tested a food reward instead of morphine, the mice did not develop more food-seeking behavior, perhaps because the reward was less potent, the researchers said.

“You might not want your reward circuits to be modified by everyday kinds of rewards,” Monje said.

From mice to men

“In the healthy nervous system, adaptive myelination tunes circuit dynamics in a way that supports healthy cognitive functions like learning, memory and attention,” Monje said.

But as the new study demonstrates, the process can go awry, enhancing circuits that drive unhealthy behaviors or failing to enhance circuits required for healthy brain function.

In 2022, Monje’s lab reported that adaptive myelination could explain why some epileptic seizures worsen over time. The experience of seizures drives more myelination of the circuits involved, allowing faster and more synchronized signaling, which become more frequent and severe seizures. Her team also has found that reduced myelin plasticity contributes to “chemo-fog,” the cognitive impairments that often follow cancer treatment.

In the new study, the precise biochemical steps by which a drug reward leads to myelination are not completely clear. The researchers tried bathing oligodendrocyte precursor cells in dishes of morphine or dopamine and determined that neither chemical directly causes proliferation of these cells.

“A future direction would be to understand what exactly these myelin-forming cells are responding to that comes from the activity of dopaminergic neurons,” Yalcin said.

They found that a pathway known as BDNF-TrkB signaling is part of the story. When they blocked this pathway, the mice did not generate new oligodendrocytes and did not acquire a preference for the chamber where they received the drug.

“The mice just couldn’t learn where they received their morphine reward,” Monje said.

Ultimately, a better understanding of adaptive myelination might reveal new strategies to help people recover from opioid addiction. Perhaps the process can be reversed and an addiction unlearned.

“We don’t know whether these changes are permanent, but there’s reason to believe that they would not be,” Monje said. “We think that myelin plasticity is bidirectional — you can both increase myelination of a circuit and decrease myelination of a circuit.”

The study was supported by funding from the Gatsby Charitable Foundation, the Wu Tsai Neurosciences Institute NeuroChoice Initiative, the National Institute of Neurological Disorders and Stroke (grant R01NS092597), the NIH Director’s Pioneer Award (DP1NS111132), the National Institute for Drug Abuse (P50DA042012, T32DA035165 and K99DA056573), the National Cancer Institute (P50CA165962, R01CA258384 and U19CA264504), the Robert J. Kleberg, Jr. and Helen C. Kleberg Foundation, Cancer Grand Challenges and Cancer Research UK, a Maternal and Child Health Research Institute at Stanford University Postdoctoral Award, and a Dean’s Postdoctoral Fellowship at Stanford University.

About Stanford Medicine

Stanford Medicine is an integrated academic health system comprising the Stanford School of Medicine and adult and pediatric health care delivery systems. Together, they harness the full potential of biomedicine through collaborative research, education and clinical care for patients. For more information, please visit med.stanford.edu .

Hope amid crisis

Psychiatry’s new frontiers

Stanford Medicine magazine: Mental health

Music Directors
Musician of the Month

INFORMATION FOR

Residents & Fellows
Researchers

April 2024 YCSC Faculty Development Fund awardees announced

The results of the April 2024 round of awards for the Yale Child Study Center (YCSC) Clinical and Research Faculty Development Fund were announced on June 1 via the department’s internal announcements. The annual fund supports clinical and research faculty with a primary appointment at the YCSC. The purpose is to provide start-up funds to develop research, educational, and clinical efforts that will contribute to faculty growth and development. The awardees for this round are as follows.

Training/Conference Awards

Jessica Mayo: Reflective Supervision Learning Collaborative participation
Roshani Treadwell and Taylor Collins: Attendance at EMDR summer training
Maggie Stoeckel: North American Society for Pediatric Gastroenterology, Hepatology, and Nutrition (NASPGHAN) annual meeting in November 2024, for which she is an invited speaker

Pilot Research Award

Karim Ibrahim: Pilot study of epigenetic markers and longitudinal stability of cognitive control networks in youths with disruptive behavior using a multi-omics approach

Review Committee & Application Process

Following the receipt of applications for this round, committee members George Anderson, Declan Barry, Tara Davila, Ellen Hoffman, Michele Goyette-Ewing, Andrés Martin, and Helena Rutherford reviewed and discussed all submitted applications. Scores from members were averaged to rank-order each application. Committee members recused themselves from reviewing any grant in which they are associated with the applicant.

Research and clinical faculty (assistant professors, associate research scientists, associate professors in their first term, research scientists in their first term, and clinicians with the title of Instructor, Clinical Instructor, or Assistant Clinical Professor of Social Work) are eligible to apply. This fund is not available to fellows or community faculty members.The next submission deadline is October 15, 2024. Additional information and application instructions are available on the center’s intranet.

Featured in this article

Jessica Mayo Assistant Professor of Child Psychology
Nadeeka Treadwell Assistant Clinical Professor of Social Work in the Child Study Center
Taylor Collins, LCSW Clinical Lecturer in the Child Study Center
Maggie Stoeckel, PhD Assistant Professor; Director, GI Psychology Service, Pediatric Gastroenterology & Hepatology; Associate Clinical Director, Pediatric Psychology Program, Child Study Center
Karim Ibrahim Assistant Professor in the Child Study Center
George Anderson, PhD Senior Research Scientist in the Child Study Center and in Laboratory Medicine; Director, Core Resource Laboratory of the Yale Interdisciplinary Research Consortium on Stress, Self-Control and Addiction; Director, Laboratory of Developmental Neurochemistry (Child Study Center)
Declan Barry, PhD Professor of Psychiatry and in the Child Study Center; Director of Pain Treatment Services, APT Foundation; Director of Research, APT Foundation
Tara Davila, LCSW Assistant Clinical Professor of Social Work; Vice Chair for Diversity, Equity & Inclusion, Child Study Center; Associate Director of Youth Services, Child Study Center
Ellen J. Hoffman, MD, PhD Associate Professor in the Child Study Center
Michele Goyette-Ewing, PhD Associate Professor of Child Psychology in the Child Study Center; Vice Chair for Ambulatory Services; Clinical Faculty Affairs, Child Study Center; Director, Psychology Training; Clinical Director of Outpatient Services, Child Study Center
Andrés S Martin, MD, PhD Riva Ariella Ritvo Professor in the Child Study Center and Professor of Psychiatry; Medical Director, Children's Psychiatric Inpatient Service at Yale-New Haven Children's Hospital; Director, Standardized Patient Program, Teaching and Learning Center; Director of Medical Studies, Yale Child Study Center, Child Study Center
Helena Rutherford, PhD Associate Professor in the Child Study Center

AgBioResearch

Msu potato breeder develops new genetically engineered potato.

Jack Falinski <[email protected]> - June 04, 2024

The Kal91.3 potato can be stored in cool temperatures for long periods of time and produce healthier and higher-quality potato chips.

EAST LANSING, Mich. — A new genetically engineered potato developed by Michigan State University potato breeder Dave Douches has been granted exemption from the biotechnology regulations placed on genetically modified products by the U.S. Department of Agriculture’s Animal and Plant Health Inspection Service (USDA APHIS).

The Kal91.3 potato is bred from an MSU potato variety named Kalkaska. The newly developed potato can be stored in cool temperatures for long periods of time without sucrose, the compound that sugar is typically stored in potatoes as, converting into reducing sugars such as fructose and glucose. Without as many reducing sugars, off-color browning and caramelization can be minimized in the Kal91.3 potato, leading to healthier and higher-quality products, including potato chips.

The Kal91.3 potato can also reduce the environmental impact of the growing process without as many fertilizers and pesticides needed to maintain the potato during storage.

Sucrose is broken down in potatoes by vacuolar acid invertase, an enzyme reactive to the external environment of plants — such as temperature. Roughly 10 years ago, Jiming Jiang , an MSU Foundation Professor in the departments of Horticulture and Plant Biology, published findings on how to silence, or suppress, the gene that produces vacuolar acid invertase in potatoes.

This discovery sparked interest from Douches, a professor in the Department of Plant Soil and Microbial Sciences and director of the MSU Potato Breeding and Genetics Program , to find a way to correct the sugar imbalance that can occur in some of Michigan’s commercial chipping potatoes.

“I’ve always felt as the potato breeder at MSU that using biotechnology as a tool to improve potatoes would be worthwhile,” Douches said. “We have chipping potatoes that work well and do their job, but I wanted to take this gene and find out whether it could improve a potato that was having a problem with its sugars.

“Breeding potatoes is quite challenging because we need so many important traits to line up, but in this case, we just needed one trait to correct the problem. Using this biotech strategy, we succeeded in making a potato that was giving us problems into one that’s now commercially valuable.”

After multiple experiments carried out from 2014-2015, Douches developed an RNA interference (RNAi) construct that silenced vacuolar acid invertase in Kalkaska potatoes.

From 2016-2023, Douches tested the agronomic characteristics of the Kal91.3 potato and found it had a good shape, size and specific gravity — the measurement of starch content compared to water in the potato.

Historically, many farmers have stored chipping potatoes at or around 50 F to avoid vacuolar acid invertase from responding to cooler temperatures and converting sucrose into reducing sugars, but doing so has left potatoes more susceptible to storage rots and moisture loss. The Kal91.3 potato, however, has shown the ability to be stored at 40 F while maintaining its sugar balance.

“There’s a double value to it,” Douches said. “The first is that we stabilize the sugars. The invertase silencing slows down the conversion of sucrose into fructose and glucose, so it stabilizes the potato’s sugar while in storage. It’s settling the potato down from a metabolism point of view. The second is that we benefit from being able to store the potato for longer periods of time at cooler temperatures.”

In January, Douches received notice from USDA APHIS that the Kal91.3 potato proved not to pose an increased plant pest risk relative to its conventionally bred counterpart, thus making it exempt from the biotech regulations USDA APHIS imposes on other genetically modified products. This news meant regulators from USDA APHIS concluded that the Kal91.3 potato could’ve otherwise been developed using traditional breeding techniques.

Research published earlier this year from Jiang and Douches detailed ways of editing the gene discovered to be responsible for cold-induced sweetening, the buildup of fructose and glucose in potatoes while in cold storage. The technology used in that research and in the Kal91.3 potato achieve the same goal of decreasing the accumulation of reducing sugars, but they operate differently, according to Douches.

“In the Kal91.3 potato, we’re putting the gene in a specific orientation in the DNA that tells the potato the gene won’t work as well as it used to — this is what’s called silencing,” Douches said. “In Dr. Jiang’s approach, he found a way to knock out a segment of the promoter, part of the gene that has information on how the gene itself should work. This leads to the same result as silencing.

“His new approach is more of a gene-editing approach, while my current approach is more of genetic-engineering approach.”

The Kal91.3 potato isn’t the first genetically engineered potato with invertase silencing to be exempt from regulation by USDA APHIS. However, it’s the first genetically engineered vegetable developed by a land-grant university to be exempt from regulation, according to the USDA APHIS website.

Douches and his team are now working with Michigan potato industry leaders to evaluate the potential impact the Kal91.3 potato might have on the state’s industry, specifically with chipping.

Michigan is the eighth largest producer of potatoes in the U.S., with 70% used for chips.

Kelly Turner, executive director of the Michigan Potato Industry Commission, said the storage capacity of the Kal91.3 potato has a chance to further stabilize Michigan’s potato industry with a steady supply of potatoes throughout the year, even when fresh harvests aren’t available. She also said the decrease in fructose and glucose found in the potato can lead to a crispier, healthier and tastier chip.

In addition to the benefits that it can create for producers and consumers, the Kal91.3 potato — and others like it — can also benefit the environment and help the industry become more sustainable amidst changing climate patterns, according to Turner.

“Not only does the Kal91.3 potato have a high nutrient content, but it also could be grown by using less fertilizers and pesticides, thus reducing the environmental risk and footprint of the potato-growing process,” Turner said. “Potatoes like Kal91.3 also present opportunities to address climate and weather pattern changes, helping potatoes be more tolerant during periods of drought and other abiotic stresses. This helps to stabilize yields and ensure food security while maintaining environmental diligence under changing climatic conditions.”

Turner said the industry’s partnership with MSU to advance research in areas like the Kal91.3 potato is critical for staying ahead of new developments and providing growers with the novel resources needed to move forward.

“Collaborative research projects between MSU and the potato industry focus on solving practical problems, such as enhancing disease resistance, combatting pests and improving crop yields through genetic modifications,” Turner said. “These joint initiatives ensure that research efforts are aligned with the industry's needs, leading to solutions that are directly applicable to real-world challenges faced by potato growers and processors.”

Michigan State University AgBioResearch scientists discover dynamic solutions for food systems and the environment. More than 300 MSU faculty conduct leading-edge research on a variety of topics, from health and climate to agriculture and natural resources. Originally formed in 1888 as the Michigan Agricultural Experiment Station, MSU AgBioResearch oversees numerous on-campus research facilities, as well as 15 outlying centers throughout Michigan. To learn more, visit agbioresearch.msu.edu .

Did you find this article useful?

Futures: MSU's research and its impact on plant health

Check out the Horticulture B.S. program!

new - method size: 3 - Random key: 0, method: tagSpecific - key: 0

You Might Also Be Interested In

Bringing you the Michigan cherry on top

Published on June 14, 2019

Natural Resources

Published on February 1, 2021

Precision Farming

Published on August 12, 2019

Plant Health. Healthier Planet.

Published on July 1, 2020

2011-2012 Legislative Report

Published on January 1, 2012

2006 Annual Report

Published on June 3, 2006

agbioresearch
biotechnology
biotech potato
department of horticulture
department of plant soil and microbial sciences
featured news
michigan potato
msu potato breeding and genetics program
plant agriculture
plant breeding genetics and biotechnology
potato breeding
agbioresearch,
biotechnology,
biotech potato,
department of horticulture,
department of plant soil and microbial sciences,
featured news,
michigan potato,
msu potato breeding and genetics program,
plant agriculture,
plant breeding genetics and biotechnology,
potato breeding,
Project GREEEN
Michigan Alliance for Animal Agriculture
Partnership for Ecosystem Research and Management
Institute of Water Research

Researcher Resources

Commodity Group RFPs
Research Projects - REEport Forms
Commodity Groups Granted Waiver of Indirect Costs
Policies, Procedures and Guidelines
Animal Agriculture Priorities
Plant Agriculture Priorities

Office of Research Support

Funding Opportunities

News & Publications

MSU AgBioResearch & MSU Extension Legislative Report

Share full article

Supported by

Guest Essay

The Long-Overlooked Molecule That Will Define a Generation of Science

By Thomas Cech

Dr. Cech is a biochemist and the author of the forthcoming book “The Catalyst: RNA and the Quest to Unlock Life’s Deepest Secrets,” from which this essay is adapted.

From E=mc² to splitting the atom to the invention of the transistor, the first half of the 20th century was dominated by breakthroughs in physics.

Then, in the early 1950s, biology began to nudge physics out of the scientific spotlight — and when I say “biology,” what I really mean is DNA. The momentous discovery of the DNA double helix in 1953 more or less ushered in a new era in science that culminated in the Human Genome Project, completed in 2003, which decoded all of our DNA into a biological blueprint of humankind.

DNA has received an immense amount of attention. And while the double helix was certainly groundbreaking in its time, the current generation of scientific history will be defined by a different (and, until recently, lesser-known) molecule — one that I believe will play an even bigger role in furthering our understanding of human life: RNA.

You may remember learning about RNA (ribonucleic acid) back in your high school biology class as the messenger that carries information stored in DNA to instruct the formation of proteins. Such messenger RNA, mRNA for short, recently entered the mainstream conversation thanks to the role they played in the Covid-19 vaccines. But RNA is much more than a messenger, as critical as that function may be.

Other types of RNA, called “noncoding” RNAs, are a tiny biological powerhouse that can help to treat and cure deadly diseases, unlock the potential of the human genome and solve one of the most enduring mysteries of science: explaining the origins of all life on our planet.

Though it is a linchpin of every living thing on Earth, RNA was misunderstood and underappreciated for decades — often dismissed as nothing more than a biochemical backup singer, slaving away in obscurity in the shadows of the diva, DNA. I know that firsthand: I was slaving away in obscurity on its behalf.

In the early 1980s, when I was much younger and most of the promise of RNA was still unimagined, I set up my lab at the University of Colorado, Boulder. After two years of false leads and frustration, my research group discovered that the RNA we’d been studying had catalytic power. This means that the RNA could cut and join biochemical bonds all by itself — the sort of activity that had been thought to be the sole purview of protein enzymes. This gave us a tantalizing glimpse at our deepest origins: If RNA could both hold information and orchestrate the assembly of molecules, it was very likely that the first living things to spring out of the primordial ooze were RNA-based organisms.

That breakthrough at my lab — along with independent observations of RNA catalysis by Sidney Altman at Yale — was recognized with a Nobel Prize in 1989. The attention generated by the prize helped lead to an efflorescence of research that continued to expand our idea of what RNA could do.

In recent years, our understanding of RNA has begun to advance even more rapidly. Since 2000, RNA-related breakthroughs have led to 11 Nobel Prizes. In the same period, the number of scientific journal articles and patents generated annually by RNA research has quadrupled. There are more than 400 RNA-based drugs in development, beyond the ones that are already in use. And in 2022 alone, more than $1 billion in private equity funds was invested in biotechnology start-ups to explore frontiers in RNA research.

What’s driving the RNA age is this molecule’s dazzling versatility. Yes, RNA can store genetic information, just like DNA. As a case in point, many of the viruses (from influenza to Ebola to SARS-CoV-2) that plague us don’t bother with DNA at all; their genes are made of RNA, which suits them perfectly well. But storing information is only the first chapter in RNA’s playbook.

Unlike DNA, RNA plays numerous active roles in living cells. It acts as an enzyme, splicing and dicing other RNA molecules or assembling proteins — the stuff of which all life is built — from amino acid building blocks. It keeps stem cells active and forestalls aging by building out the DNA at the ends of our chromosomes.

RNA discoveries have led to new therapies, such as the use of antisense RNA to help treat children afflicted with the devastating disease spinal muscular atrophy. The mRNA vaccines, which saved millions of lives during the Covid pandemic, are being reformulated to attack other diseases, including some cancers . RNA research may also be helping us rewrite the future; the genetic scissors that give CRISPR its breathtaking power to edit genes are guided to their sites of action by RNAs.

Although most scientists now agree on RNA's bright promise, we are still only beginning to unlock its potential. Consider, for instance, that some 75 percent of the human genome consists of dark matter that is copied into RNAs of unknown function. While some researchers have dismissed this dark matter as junk or noise, I expect it will be the source of even more exciting breakthroughs.

We don’t know yet how many of these possibilities will prove true. But if the past 40 years of research have taught me anything, it is never to underestimate this little molecule. The age of RNA is just getting started.

Thomas Cech is a biochemist at the University of Colorado, Boulder; a recipient of the Nobel Prize in Chemistry in 1989 for his work with RNA; and the author of “The Catalyst: RNA and the Quest to Unlock Life’s Deepest Secrets,” from which this essay is adapted.

The Times is committed to publishing a diversity of letters to the editor. We’d like to hear what you think about this or any of our articles. Here are some tips . And here’s our email: [email protected] .

Follow the New York Times Opinion section on Facebook , Instagram , TikTok , WhatsApp , X and Threads .

IMAGES

Infographic: Steps in the Research Process
The Research Process
How to Structure your research article
(PDF) Typical Research Article Structure
How to Publish Your Article in a Peer-Reviewed Journal: Survival Guide
Typical Research Article Structure

VIDEO

The Research Process
What is Feature extraction?
1 An Overview of Feature Mining
Metho 4: Good Research Qualities / Research Process / Research Methods Vs Research Methodology
How to create a feature definition from selection
How To Write A Journal Article Methods Section || The 3 step process to writing research methods

COMMENTS

How to Write a Feature Article: A Step-by-Step Guide
The first step in feature story writing is selecting a unique and compelling angle or theme for your story. Look for an aspect of the topic that hasn't been explored widely, or find a fresh perspective that can pique readers' curiosity. 2. Conduct Thorough Research: Solid research is the foundation of any feature story.
Feature writing: Crafting research-based stories with characters
Identify and obtain research-based material that will provide a specific contextual foundation for the story. Provide at least four sources, with their contact information, and an explanation of why the student has chosen them. Provide a brief reporting plan. Class 2: The importance of backgrounding (starting the reporting process)
PDF How to write a feature article
1. Analyze what makes a feature article: • Look at the materials on OpenLab about what makes a feature article • Hook/introduction: story or question or quote… • Nut graf: an idea of what the article is about. • Initial research: a quote or bit of information to get us intrigued. • Body: more stories and information and visuals.
How to Write a Feature Article: Crafting Captivating Stories
Step 4: Select an Appropriate Writing Style. Selecting an appropriate writing style is a critical step in crafting your feature article. Your choice of language and tone will significantly impact how your audience perceives the information you present. To help get you started, here are a few tips:
How to Write a Feature Article (with Pictures)
1. Choose a format for your article. Feature articles do not have a particular formula the way hard news articles do. You don't need to follow the "inverted pyramid" style of writing that conveys the "who, what, where, when and why" of a news story. Instead, choose a more inventive way to write a story.
How to write a feature article
Pitching. Once you have a firm idea of your subject, the publication, the audience, and the appropriate section, you are ready to make a pitch to the editor. Be targeted —Once you've selected the journal, think about which section to target within the journal, and make this clear. Be concise —Your pitch should be one or two paragraphs in ...
Instructions to Write a Feature Article: A Step-by-Step Guide
In this blog, you'll find the process of how a feature article, performance article writing tips, feature article tree, etc. ... Rigid research is the foundation of any feature story. Dive strong into your subject substance, video relevant sources, and gather as much information as possible. Understand your subject inside unfashionable to ...
How To Write An Amazing Feature Article In 5 Steps
Step 4: Body. Now, let's move onto the main part of your feature article. The body of your feature article is where you write all of your juicy information. This is where the story unfolds and you share your opinions. So, let's get started and see what you need to do in your feature article body paragraphs. a.
How To Write A Feature Article
The process is simple in theory: Step 1: Come up with an idea, or several ideas mixed together. Step 2: Develop a topic proposal or story pitch. Step 3: Work out a practical plan of action. This should include where to go, who to speak to, and your research and preparation for the actual writing stage. Step 4: Draft and redraft your article ...
5 Tips for Writing a Captivating Feature Article
5 Tips for Writing a Captivating Feature Article. Written by MasterClass. Last updated: Nov 24, 2021 • 3 min read. A feature article blends hard facts with rigorously sourced details to paint a thorough picture and give a complete story. Learn how to write a feature story with these tips.
How to Research Effectively for Feature Articles
5. Update your research. Be the first to add your personal experience. 6. Write your draft. 7. Here's what else to consider. Be the first to add your personal experience. Feature articles are ...
Writing a Feature Article
4. Research the publication. Remember that each publication has a specific target audience and a distinct style of writing. If you're writing for a well-known magazine, journal or newspaper, find some examples of feature articles to get an idea of the layout, structure and style. 5. Research your topic. Research will ground your article in fact.
How To Write a Feature Article: A Step-by-Step Guide
The reader should be able to confirm that the article is ready for a conclusion. Now, you have gulped the capsule to set and write a feature article. Reread and Edit: This is the most important step of the writing process before you write a feature article. Revision and editing are important processes of writing.
Feature Writing: Tips, Types & Importance in Writing
3. Proofread and edit. Proofreading and editing are what makes good writing great, and a sharp editor's eye can transform your feature article into a polished gem. Writing an article requires more than simply putting words on paper—it also requires editing those words until they are in the best shape.
DEVELOPING A FEATURE ARTICLE
(8) Describe a process. This is a way to show how something is done, a protocol or procedure. Describing processes also comes into play when giving instructions on how to conduct a task. (9) Describe applications. This emphasises the practical aspects of research, by showing how inventions and discoveries can be used in everyday life.
Anatomy of a Magazine: How to a Create a Feature
The structure of a feature article is a fundamental aspect of its success within the structure of a magazine. By carefully crafting the lead, body, and conclusion, writers create a narrative journey that engages readers and provides them with valuable insights. This approach leaves a lasting impact.
The indispensable guide to what makes a great feature story
The feature story is a potent and vital form of literary non-fiction. Here, Anthony Cockerill charts its evolution through the years. Of all the different ways to tell stories, the feature article is one of the most compelling, especially when it's in the right hands. It's a mainstay of contemporary journalism: a set-piece at the core of a ...
The Ultimate Guide to Writing a Feature Article
News. Feature articles can be written about current and ongoing news stories. For example, the media outlet The Conversation typically covers politics and news on society. The Sydney Morning Herald covers sports and breaking global news. A news feature article goes beyond the mere facts. Your feature article will provide an in-depth analysis ...
PDF ChemComm: Feature articles
A feature article should ideally be between 10 and 16 pages in length, although longer articles may be acceptable after consultation with the Editorial Board. The template should be used to prepare the article. The use of colour is encouraged. Authors should try to limit the colours used to clear,
A Reporter Explains His Approach to Writing News and Features
For Mr. Barnes, the main difference between a news article and a feature isn't the word count, the number of interviews involved or how long he spends drafting it: "The writing process changes ...
The critical steps for successful research: The research proposal and
Scientific publication is an organic process of planning, researching, drafting, revising, and updating the current knowledge for future perspectives. Writing a research paper is no easier than the research itself. The lectures of Day 2 of the workshop dealt with the basic elements and logistics of writing a scientific paper.
How I Write an Interview-Based Feature Article
4. Review. Before I start writing (or sometimes right after the interview), I go back through the interviews and my research notes and highlight key quotes and information I want to include in the ...
Feature Articles Examples for Students PDF in Journalism
The seven steps to write a feature article are: select the topic, target audience, research the topic, outline the steps, start the writing process and propose recommendations and cautions, and edit and Proofread. People read feature articles to earn more knowledge on certain events.
Politicizing Children's Play: A Community Photovoice Process to
Importance: Contextual elements at school playgrounds compromise the right to play. An occupation-based social transformation project to foster occupational justice in play at a school playground was conducted. Objective: To better understand barriers to and facilitators of children's participation in occupations at the school playground to co-create actions that enable play.
How to Build A Repeatable Sales Process
A sales process is a series of steps that move a sales rep from product and market research all the way through to a closed deal — and beyond. The number of steps in the sales process may change depending on the type of industry you're in, what product you're selling, and who your prospect is, but typically include four key stages ...
Myelination in the brain may be key to 'learning' opioid addiction
New research in mice by Stanford Medicine scientists has found that the process of adaptive myelination, which helps the brain learn new skills, can also promote addiction to opioids. June 5, 2024 - By Nina Bai. Stanford Medicine research has found that adaptive myelination, the neuronal process by which we improve our skills, can lead to ...
April 2024 YCSC Faculty Development Fund awardees announced
June 04, 2024. The results of the April 2024 round of awards for the Yale Child Study Center (YCSC) Clinical and Research Faculty Development Fund were announced on June 1 via the department's internal announcements. The annual fund supports clinical and research faculty with a primary appointment at the YCSC.
MSU potato breeder develops new genetically engineered potato
Jack Falinski - June 04, 2024. The Kal91.3 potato can be stored in cool temperatures for long periods of time and produce healthier and higher-quality potato chips. EAST LANSING, Mich. — A new genetically engineered potato developed by Michigan State University potato breeder Dave Douches has been granted exemption from the biotechnology ...
Study on Fault Feature Extraction of Rolling Bearing Based on Improved
Based on this research, central frequency mode decomposition is proposed to better solve the problem of parameter adaptation . ... Feature Extraction Process. The parameter decomposition mode n, filter length L, and frequency band number K in FMD have great influence on signal decomposition results. For example, if the filter length is too ...
The Long-Overlooked Molecule That Will Define a Generation of Science
By Thomas Cech. Dr. Cech is a biochemist and the author of the forthcoming book "The Catalyst: RNA and the Quest to Unlock Life's Deepest Secrets," from which this essay is adapted. From E ...