5 Tips on Writing a Feature Journalism Article

Feature journalism (also referred to as soft news) is essentially reporting with flair where you get to use the storytelling skills and creativity that probably drew you to a career in journalistic writing in the first place.

“The newspaper is, in fact, very bad for one’s prose style,” wrote journalist and author Thomas Wolfe. “That’s why I gravitated towards feature stories where you get a little more leeway in the writing style.”

Weaving in a narrative with the facts, feature journalism focuses on entertaining, educating, informing, and engaging the audience. Features are not time-sensitive, so they can be about any topic, taking an in-depth look at a current event, an ongoing issue or situation, a place, person, or a group of individuals.

You’ll find features in regional and national newspapers, regional magazines, national magazines like The New Yorker and The Atlantic, and of course, online publications.

So, what are the main differences between a feature and a news story?

A news piece tells you the story in a simple, straightforward manner, and is usually on the shorter side. A feature can be much longer, with the emphasis more on showing you the story. News is immediate and current whereas a feature can be evergreen, although many are also topical. An evergreen story of course has staying power, being just as relevant and interesting a year or even 5 years in the future. The topics are not always lighthearted however—some features shine a light on societal issues or expose suffering.

News writing follows the inverted pyramid structure while feature writing is more flexible, adopting various styles. The lede or opening paragraph for instance can be anecdotal and descriptive. This gives the writer creative freedom and an opportunity to practice their narrative writing skills and employ storytelling techniques like the ample use of descriptions, plot, and character development. A feature piece can be entertaining—profiling an artist or singer, it can be informative—shining a light on an obscure problem, or it can raise awareness about a current issue.

A skilled feature writer will connect emotionally with her audience, drawing them into the story, painting a vivid picture of the people’s lives, their work, feelings, struggles, predicament, sorrow, or joy.

So now that we know exactly what feature writing is and what it hopes to achieve, let’s look at some simple tips to help you reach these goals. 

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The Writer’s Digest Guide to Journalism is a practical, informative, and well-researched introduction to journalism and its best practices, with actionable advice, tips, techniques, explanations, and anecdotes straight from the field. In this digital guide, writers will learn how to write an effective news piece, skills need to be an effective journalist, outlets for publishing journalism, journalism associations, and so much more. Both inspirational and pragmatic, The Writer’s Digest Guide to Journalism is packed with valuable resources for aspiring journalists.

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A feature can focus on an interesting person, like an author, singer or entrepreneur, a group of people, a topic, an issue, or a certain location. The possibilities are endless. It can be a profile, a human-interest story, seasonal, a lifestyle piece (which are very popular and fun to write—think home décor, fashion, leisure), a hard-hitting news feature, an interview, a Q&A, a trend story, something instructional, food related, business, or travel.

Each of these styles has a different approach, some are light and entertaining while others dive deep into serious social issues. A feature’s length can range from 1,000 to 4,000 words, depending on the publication and its readership. Regional newspaper and magazine features tend to be on the shorter side, whereas nationals and online publications can accommodate longer pieces.

A feature is an in-depth look at a person, place, or event, so it requires a lot of background information. This could be researching the larger topic involved, for instance the history of a community you’re covering, or if your story focuses on a person’s great achievement, you can ask about their childhood, where they grew up, and so on. Digging behind-the-scenes can uncover some amazing details that will make your story glow. It will also help you formulate the right questions to ask during interviews.

Remember to follow-up on little tidbits that could possibly lead to elements that broaden the scope of the story, adding to the intrigue and interest.

If possible, organize an in-person interview so you can get to know the person, and ideally conduct the interview at their home or workplace. Being in a person’s environment you get a better feel for who they are, and you can use descriptions of the setting in your piece. Maybe there’s some unusual décor or a painting you can even ask about it during the conversation—who knows, there may be a side-story surrounding that piece.

Be observant, ask questions, and then ask follow-up questions.

If you’re writing about someone with a particular profession or skill, it’s helpful to observe them at work, so you’re able to describe what they do firsthand. For example, say you’re interviewing a therapeutic horse-riding instructor, wouldn’t it benefit your piece to watch them in action with the horses and the individuals served? And questions may pop up that you wouldn’t have thought of otherwise, such as: Why is there a side walker and a horse handler?

Get to know the people you’re interviewing beforehand if possible. Try to meet with them a few times prior to the interview, and maybe follow them for a day if that will improve your story and paint a better picture of their lives. All this of course depends on your time and how much you’re getting paid for the piece. Phone interviews are fine if you’re getting paid a minimal amount and are unable to travel.

For my piece on flea market pickers however, I spent several hours at the flea market, soaking up the atmosphere, chatting with vendors, taking photos, choosing who to interview, noting down descriptions of booths, items, and different people. Flea market vendors come up with the best quotes, and I wouldn’t have got them over the phone. And when my pickers (the main characters of my piece) arrived, I followed them around as they shopped, taking notes, snapping photos, observing how they haggled. And I later sat down with them for an hour or so for a more formal interview.

Another time I wanted to write a feature about a local clairvoyant, and she agreed to an interview only if we did a Tarot card reading. Of course, I agreed, and it was a fun piece to write. Since I was immersed in the experience, most of it was written from memory and I barely took notes.

Feature ledes, often called delayed, narrative, or anecdotal ledes, must be strong and emotive, to draw readers into the story. It can be as straightforward or as creative as you like. Whereas news ledes focus on the facts, the 5 Ws and H, the opening paragraph of a feature lede sets up the scene or describes a person or location in vivid detail.

With a feature you get to take your time and ease into the story, and it can be several paragraphs long if you’re writing a piece 2,000 words or more (you get to the point quicker in a shorter piece of course). Following the lede is the nut graph, and it’s here you get to tell the reader what it’s all about—in a nutshell. It’s a bridge between the lede and body and tells us why the story was written and why we need to care.

The middle part or body of the feature must have all the usual building blocks of a story, the setting, scenes, action, conflict or challenge, and character building. We must get to know the characters and what they’ve endured, so we care enough to continue and want to see how it all plays out.

Feature stories also need some type of conclusion, so the reader feels they’ve been following a complete story. Obviously, some tales have no actual or definite ending, but your piece must come to a satisfying conclusion, tying everything together. Above all, it must be an ending readers will remember, and hopefully ponder for days thereafter.

Often when interviewing a source, they’ll casually toss out the perfect end-quote or opening line for your piece, and you’ll know it the moment you hear it, scribbling it down frantically with big exclamation points and a grin on your face. I would often have a feature opening formulated in my head on the drive home from an interview. I’d rush to my Mac and quickly tap it out before I forgot.

Pull out your notes and try to recall all the details of each scene you encountered, including the atmosphere and feelings you experienced. What was the energy like? Joyful like a Christmas parade? Peaceful? Hostile even?

Engage the senses with vivid descriptions of sights, sounds, colors, smells, textures, and size. Be specific—how tall is that huge metal pink flamingo? What shade of red was the floor length gown—poppy red, crimson? What direction is the picture window facing? Was the chair a vintage Eames rocker or a contemporary reproduction?

Through writing in an active voice and engaging the reader using vivid descriptions, adding the smallest details and your own observations, you’re not only sure to elevate your craft but you might have fun in the process.

The best way to learn and improve of course is to read (and study) the work of successful and talented writers. Here are some notable features for you to peruse:

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