To feature writers

A homonym pair distinguishes feature writing from news writing and personal journals: “insight” and “incite.” In a manner of speaking, feature writing always ought to be sensuous and arousing, revelatory and epiphanic. May libog.

So what?

“So what?”— If a reader must ask, then you, the writer, are not doing your job. Your work should explain itself. Get to the point. And make it worth getting there.

You are always selling the idea why they should even bother reading you. Entertain, beguile, thrill, tickle and inform constantly. You have a fickle and rude audience ready to leave your performance at the slightest annoyance or confusion with a turn of page or a click of a button.

Hook them with your lead paragraph. If you must take readers through the long scenic route, grab them by the lapels and give them a hell of a ride with the most vigorous and vivid writing.

Show; don’t tell. Writing is a visual and experiential medium. Make them see it, smell it and feel it.

There are several ways to hook your readers with your lead paragraph: take them there and put them in the middle of the action, fascinate them with an intriguing proposition—the very rationale of your article, or start off with an arresting quote.

 

Confess what the fuss is all about on the secondary paragraphs by plainly answering what, where, when, why and how or your readers will desert you. Continue to build up on the basic facts with context and anecdotes.

Maintain the same theme, tense, metaphors, point-of-view and cadence to maintain one’s spell over the reader. Onomatopoeia, alliteration and other literary devices allow for a smooth and harmonious flow of words. Structure your article to provide the reader a seamless literary experience.

Don’t try to say too much in one go. Break up compound sentences and trim awkward multiple adjectives.

If you must, say out loud what you write to expose clumsy, overwrought and vague sentences. This is why bilingual writers should speak and think in the language they write. At its best, writing is conversational—conversation that is eloquent. Avoid speaking in slang unless that is the way you intend to write. Ascertain the meaning and usage of idiomatic expressions. Don’t write what you wouldn’t dare say out loud.

Always prefer active sentences—such as "The crazed editor murdered every single one his unrepentant contributors,"—over passive sentences—such as "The unrepentant contributors were murdered by the crazed editor,"—to craft vigorous writing. The only time passive sentences are preferred is when one wants to emphasize the passivity and victimhood of those receiving the action.

Less is more. Mean more by using less words.

Precise verbs are more descriptive than a carbuncle of superfluous adjectives. “The corpulent statesman, despite all his famed oratory power, wheezed, whimpered and muttered his dying words” is a much more vigorous sentence than “The politician who was a bit on the round side said his last words feebly and with much difficulty.”

Vague adjectives do not say anything. Be specific. In what way was she beautiful—voluptuous or waiflike, virginal or femme fetale?

When asked to lengthen stories, do not use more words. Instead, use more information. Historical context, cultural significance, dos and don’ts, explanations in layman’s terms of technical aspects, expert testimonials, and eyewitness anecdotes all add value to your writing, be it as part of your feature or as an accompanying sidebar.

A first person perspective is not an excuse for apologetic and lame writing (“in my humble opinion,” “perhaps,” or “I think”). You cannot expect readers to believe you if you’re not sure of yourself.

On the other hand, a first person account is not a license for one-sided or unsubstantiated assertions. Expert testimonials, attributed factual sources and balanced viewpoints both arm and armor the journalist with credibility, especially with high-stakes, libel-prone topics.

End the same way you began—with a return to the same imagery and metaphor that compelled your reader to venture into your writing. If you cast Pops Fernandez as Eve, Mary Magdalene and Virgin Mary, then end with a return to biblical metaphors.

What can I tell that readers can’t find out by themselves?

There is a reason why reporters are privy to rehearsals, interviews and previews. Give the reader something only you can provide. That is your insight.

Writing about the ballerinas of Ballet Philippines, reveal the hardships that never show in their seemingly effortless performances. Writing about a sensuous celebrity such a Chinggay Andrada, Sheree or Iya Villania for a men’s magazine such as Manual, divulge and detail the rapport and intimacy between you and the interviewee —something most men will never experience—instead of instinctively eschewing such color in the name of objectivity and professionalism.

Journalism is a matter of trust. You must believe your assignment is worth writing. You must trust the wisdom of your editor. If you cannot see it his way, take a fresh perspective.

Asked to interview a feng-shui geomancer, a non-believer would do well to entertain his readers with humorous skepticism. Asked to cover a bikini fashion show, a male reporter would do well to advice readers on what appropriate Speedo swimsuit a man should buy his girlfriend. Never feign expertise you do not possess or beliefs you do not share. Honesty is intriguing and candor fresh. It is your angle.

Be it tech gadget reviews, makeup tips or relationship advice, what you write can and should be bona fide journalism. All the responsibilities and principles of the craft still apply.

Journalism hinges on opportunity. And opportunity is everywhere. Never belittle an assignment. A narrative art that shares many of the same devices and structures as fiction, feature writing draws all its content from real life—a source of stories stranger than fiction.

A good journalist never wastes his chances. He researches his subjects before an interview or press conference. He knows what to ask and what to look for. Foregoing well-trodden topics, he explores further with probing questions or forges a startling new direction.

By showing an interest in his subject, a reporter gains his subject’s confidence. People want to talk. It is in anyone’s nature to confess to those who understand and share their likes.

Who am I talking to?

One’s target audience determines one’s language, tone and approach. Writing is not about showing off your mastery of the language or expressing your own individuality; these occur while providing the reader the information he needs and wants. A writer ought to be like a waiter, drawing attention not to himself but to what he serves. You are not writing to brag about all the fancy words you know, who you’ve been with and where you’ve gone. You are there to explain in plain English to those who don’t know enough. That’s why they read—to learn from you.

Use sward-speak consistently for a feature on the gay musicale Zsazsa Zathurnah or rap lingo for an article on Nike’s hip-hop aerobics video. Beyond mere language, one’s approach and angle must cater to your audience. Writing about a famous celebrity such as Ruffa Gutierrez for a women’s magazine as Mega, do not waste words retelling her long history – these are things the magazine’s readers know well enough.

Every genre of journalism has its own language. The music critics of Rolling Stone Magazine have their own manner of writing and so too do the fashion police at E! But speaking the established language of your genre is not an excuse for horrid grammar or conversational blather. Whatever voice you choose to write in, in should be still be intelligible to everyone. Expand your readership. Educate and elevate them. Do not exclude anyone by indulging in the usage of unexplained terminology of a particular subculture.

Journalism is timely, hence the name. For a feature to be relevant to its readers, writers must meet deadlines.

If the only time you give thought to how you are to write an article is when your fingers are upon the keyboard, then you are screwed. Think about it while in traffic, in the shower or before going to bed. Learn to write on demand, without any ceremony, lucky charms or special settings.

“Writer’s block” is nothing more than the lack of information. Often, one feels overwhelmed by the volume of information simply because one has yet to sort relevant facts. We write not what we already know but what we want to know.

Content determines organization. One’s approach becomes apparent as you discern your materials, much the same way a sculptor envisions his creation by looking at the stone at hand, seeing potential from its limitations, allowing the shape and grain of his raw material to determine his method of attack. For example, an article on health can be divided into body parts or one on history by epochs.

The creative process is nothing more than recognizing a doable yet worthy objective, then tackling technical challenges, one after another, to achieve that goal.

What do I want to happen?

The end of all writing is not to be read, but to provoke action. Having armed readers with the pertinent information to change their lives, incite them. Make them salivate for foie gras, thirst for pinot noir or make them reconsider eating dead animal carcasses and instead switch to a vegan lifestyle. All good writing is motivational. However, sermons are boring and offensive. The readers’ choices and opinions are for them to make for themselves. You must presume intelligence, free will and wisdom on their part. You must believe in your readers as well.

Believe in your profession. Enjoy your livelihood; you will spend more time at work than you ever will on vacations or at home. Your loyalty is to your craft. Your portfolio, your resume and your reputation are what you take with you. The rigors, ethics, science and craft of journalism stem not from any job title or convention; they are intrinsic to any publication of fact, regardless of medium or technology. We owe the strangers we write for feature stories that are truthful, concise and compelling.