WRITING THE FEATURE, SPEECH, SPORTS AND ACCIDENT STORIES

WRITING THE FEATURE, SPEECH, SPORTS AND ACCIDENT STORIES

FEATURE STORY

Writing   straight   news   strengthens   the   writer’s powers of observation and builds his skill in using the English language.  

It impresses on the writer the necessity for ruthless editing until the story is specific, clear and vital.

Conversely, feature writing is not an exact science. Much depends on the skill, imagination and creativeness of the writer.

What is a feature story? It has been called the story that “has to be told.”  It has also been called simply “human interest.”  Interest  in  human  beings,  and  in events  because  they  concern  people  in  situations  that might  confront  anyone  else,  is  called  human  interest. . Certain topics have human interest built in.  And, although they may not possess any of the other elements of news value (timeliness, proximity, prominence or consequence), they still have personal appeal.

Human interest may fall into many categories, including those in  the  following  list:  Current  topics, The unusual and the extraordinary, Mysteries and catastrophes, Romance and sex Adventure  and  exploits, Competitive   contests, Child, teen-age and adult life, Animal  life Recreations and hobbies Business, professional and home activities Social welfare Success  and  happiness

A good human interest story is built around the premise that the reader can easily identify with the subject or event.

It involves a fellow human being and a situation that could happen to, or involve, the reader. Human interest stories not only entertain, but are often informative in that they contain all the elements of a news story.

However, the human interest aspect of the story outweighs its value as a straight news story. Major news events seem to tell themselves.  The straight news writer can set down all the facts, arrange them together with appropriate words and have an adequate news story.  The feature, however, must be brought to public attention by the creative writer.

Content.

The feature story is similar to basic Newswriting in that it has a news peg. What sets it far apart, however, is that it emphasizes something new, odd or unusual.

Prerequisites

Being Observant-The successful and prolific feature writer develops a   keen, inquisitive   faculty   for   observation.   A well-tended landscape is not just a pleasant view to the feature writer.  The journalist wonders who keeps it trim and why. The  power  of  observation,  the  habit  of  accepting nothing   at   face   value,   of   digging   into   unanswered questions below the surface of the event, are invaluable to the feature writer. A prime source of ideas is the daily newspaper. News  stories  that  appear  in  the  newspapers  record national,  state  and  local  events  as  they  happen.  They usually do not give background material or cover all aspects of a story. Yet everyday, news stories appear that open the way for a flood of feature articles. The ability to take a bare fact from the news page and give it meaning can produce a good article.

Writing about People

STRUCTURE

The basic structure of the feature story is divided into three parts: the lead, the body and the conclusion

Lead Any standard news or magazine-style lead maybe used to begin a feature story. It should, however, always be written in a reamer appropriate to the subject. Alight, humorous  lead,  for  example,  has  no  place  at  the beginning of a serious article designed to provoke deep and serious thought in the reader. On the other hand, a ponderous lead is no way to begin alight or humorous piece.

 Note that in feature writing, the lead often consists of more than a single paragraph  Sometimes  the  lead runs for several paragraphs

A good lead grasps the reader’s interest immediately and makes the reader  want  to  read  more.  

Body When  you  write  the  body  of  a  feature  story,  it  is important for you to avoid monotony. You do this by varying sentence length; however, long sentences must be clear and easy to understand.

Another point to note is the use of quoted material to carry the story along.  Skillfully conducted interviews with articulate experts will provide the writer with quotations.   Such   quotations,   interspersed   with expository   material,   help   move   a   story   along   and maintain a lively spark throughout.

 Explanations  and readily comprehensible revelations from authorities in a  given  field  impart  an  air  of  authenticity  to  writing, particularly in stories about technical subjects, such as rocketry, instruments, engine improvements, jet engine overhaul and medicine.

The writer should always remember the need to translate technical terms into lay language for the sake of the general audience. When this is not possible, the writer must define the technical terms. When you write a feature on a technical subject, use the following points to help you plan and organize the body of your material:    

• Make paragraph beginnings forceful to impel the reader through the story.
• Use technical terms sparingly, and include informal definitions as you go along.
• Dress up difficult or dull passages with human interest items.
• Quote authorities as necessary to make the reader feel the facts are authentic.
• Simplify facts by the use of analogy. Break down statistical material into figures the reader can comprehend.
• Compare scientific concepts and technology to objects with which the reader is familiar. Weave the necessary background into the story end
• Whenever   possible,   avoid   generalizations.   Use figures to backup any broad claims you may make. Do not  merely  say  that  the  average  sailor  uses  too  much water  aboard  ship.  Add force and emphasis to the statement with understandable figures.

Conclusion

• The   conclusion   of   all   good   feature   stories terminates the article in a positive manner. As in the lead, the writer is limited only by the ability in composing a conclusion.
• One device frequently used is to summarize the key points of the story.  Another way to end a story is to present a new fact, generally a fact that highlights the importance of the subject of the article.

• No matter how you do it, though, the ending should leave the reader satisfied that the time spent reading the piece was time well-spent.  If  you  provided  a  tantalizing  lead  and  a well-constructed  body  that  held  the  reader’s  interest, you  owe  to  the  story  and  the  reader  an  equally well-written   conclusion.

Subject of a personality feature in her/his environment.

• Telling of characteristic mannerisms and actions
• Using direct quotations in a characteristic manner
• Actually describing the subject’s personal appearance, demeanor, facial expressions and dress in his or her environment
• Giving the opinions of others about the subject
• Showing how friends and associates react to the subject
• the  art  of  feature writing is learned by doing — by writing

THE SPEECH STORY

A speech story features something not officially disclosed before

any   writer   who   knows   the   fundamentals   of   news reporting can write a speech story.

The  most  important fact,  the  climax  of  the  story,  goes  in  the  lead.  This usually means that the most important thing the speaker said goes in the lead.  Occasionally, the most important fact may be something unusual — audience reaction, for instance — but generally,  what  the  speaker  said,  either in quote or summary, is the feature.

Merely that a speaker appeared before an audience has   very   little   story   merit.   

The   speaker   must   say something  newsworthy  —  something  that  has  not  been officially disclosed before.

 In  structuring  the  speech  story  lead,  include  what was said and who said it. When and where it was said can usually be included within the lead, if the lead does not become too cumbersome. If it does, include them in the second paragraph.

Usually  a  direct  quote  lead  will  not  do,  for  most speakers  do  not  summarize  their  talk  in  one  sentence. Thus the writer should paraphrase the lead, summarizing what the speaker said in one brief sentence.

PARAPHRASING-When you paraphrase, you must be careful to keep the speaker’s meaning. Do not quote out of context; that is, do not quote a sentence that gives a wrong impression when used alone

QUOTES-When   quoting   wait   for   a   striking   phrase   or summary of a key point. Use quotes in a speech story to give the flavor of the speaker’s talk. With quotes you can convey to the reader what the talk was like. To do this, the writer need not quote whole paragraphs because they make the copy dull. A few good quotes scattered throughout the story are enough. A quotation must consist of the speaker’s exact words.  

Handling   Long   Quotes Consecutive   paragraphs   of   quotations   do   not require quotation marks at the end of each paragraph. These are required only when the entire quote ends. You do, however, begin each new paragraph with quotes. Nevertheless, as stated earlier, you can write more effectively   by   not   using   long   quotes. The ellipsis is a device of punctuation used in quoting. It consists of three spaced periods ( . . . ) used to show  omission  of  a  word  or  words  necessary  to complete a statement or quotation. If a quote is long and a  writer  wants  to  use  it,  the  writer  can  delete  the unnecessary words by using the ellipsis.

Attribution — identifying  the source  of  information or opinion  —  is  needed  in  almost  every  paragraph.  . writer must make it clear who is talking..   Beginners   should attribute  every  sentence  expressing  opinion,  for  too often  the  reader  forgets,  and  it  seems  the  writer  is making the statements in the story. Attribution  may  consist  merely  of  the  phrase  “he said.”  However,  to  be  sure  the  reader  does  not  forget who the speaker is, the writer should occasionally insert the speaker’s name. When writing a speech story, never use such words, as “I,” “our,” “us,” “we,” “me,” “you” or “your.”   Standing   alone,   these   words   represent   the writer’s viewpoint. So, if the speaker says our country needs more nuclear surface ships, the writer says: “The Kenya Government needs more nuclear surface ships.”

“SAID” AND OTHER VERBS Many  reporters  covering  speeches  are  tempted  to use  vivid  words  to  describe  how  the  speaker  talked. Unfortunately, the truth often conflicts with the vivid verbs. The best verb to use is “said.” Here is the natural and neutral link between the speaker and what he said. But many writers feel their creativity is stifled by using too many “saids.” There are, of course, synonyms like “cajoled,”   “pleaded,”   “beseeched,”   “asked,” “declared”  and  thousands  of  others  that  can  often  be used  for  variety. When  using  these  words  to  describe  how  the speaker  expressed  himself,  be  sure  you  describe  the speaker’s emotions accurately. Always be alert to exact meaning and connotation.

PAINTING A PICTURE To  add  more  color  to  the  story,  the  writer  may occasionally  describe  interesting  hand  movements  or gestures  the  speaker  made.  

GETTING THE FACTS

Before writing the speech story, you must get the facts.  Most  reporters  depend  on  tape  recordings  or  a copy  of  the  speech.  Frequently, a speaker may be supplied in advance. Should you find yourself in a situation where you must rely on your own note-taking to gather facts, make sure you get the main points of the speech.

THE SPORTS STORY

Sports writing can be the very lifeblood of a publication. For  some  people,  sports writing  is  easier  than  for others,  probably  because  they  are  athletes  or  because they are longtime fans. However, with a little training and practice, any writer can become, at least, an adequate sportswriter.

SPORTS WRITING STRUCTURE

Writing   about   a   game   or   a   sporting   event   is essentially  the  same  as  writing  a  straight  news  story. Like   straight   news,   sports   stories   are   written   in   the inverted    pyramid    style. The main difference between sports and news writing is in the lead.

A sports lead usually emphasizes the who and how of an event, while a straight news lead usually emphasizes the who and what. Like  a  news  story,  the  lead  is  normally  a  one- sentence summary of the essential Ws and H, the bridge links  the  lead  to  the  body,  and  the  body  is  written  to present facts in descending order of importance.

Lead

Sports leads normally use the who and how as the lead emphasis.  Leads should include the who, what, when, where and how.  The  who  may  be  the  teams involved  or  the  names  of  key  players.  The what will normally be the name of the sport, league or tournament. The when should be the date or day of the event, and the where should be the location of the event.  The  how  is usually  a  brief  description  of  how  the  game  or  contest was won and the score.

Summary lead.  —In   a summary lead,   the who and how will be the lead emphasis. The final score should be in the lead and not repeated elsewhere in the story.    Many    beginning    writers,    in    an    attempt    to summarize the game, repeat the score in the body. This is  wrong.  If  the  reader  forgets  the  score,  he  can  easily refer to the lead.

Background   Information Lead— the background information lead is another type of lead you should know about. It is a lead many sportswriters now use, especially when writing about games that have been broadcast over radio or television. Since readers are likely to know in advance the final score, who won and how the game was won, many sportswriters write leads that emphasize background information or locker room quotes to attract the reader.

Bridge: Very  often,  sports  bridges  are  used  to  bring  out secondary  facts  that  explain  the  significance  of  the game. The bridge might, for example, explain that a loss drops the team into the losers’ bracket in a tournament, that a victory ties the team for the league lead, that a loss marks  the  fourth  in  a  row  for  the  team,  or  any  other important consequence.

Body: Many beginning sportswriters incorrectly write the bodies of their sports stories chronologically. However, if the key play took place in the fifth inning or the third quarter, or second half. That is where the body should begin. Usually, the key play will be one that breaks a tie or gives the winning team the go-ahead margin. If a key play happens to be an error, do not be afraid to write about it. Athletes put themselves in the public eye whenever they take the field, opening themselves to praise and criticism.

USE OF SPORTS QUOTES

Quotes are used in the same manner as in Newswriting.   If   you   have   quotes   from   coaches   or players, weave them into the story.  Use them to introduce, support or explain your account.

ATTRIBUTION Unlike newswriting, sports writing require little attribution.  About the only attribution needed is for quotes or paraphrases. If the writer witnesses a game or event, he can write about the action without attribution. If he writes the story from scorebooks, he need not attribute the information because it is a matter of record.

SUPERLATIVES AND COLORFUL VERBS As an observer, the sportswriter may inject his opinions concerning the action he witnesses. He might describe   a   team’s   defense   as   “sloppy.”   He   might describe  a  catch  in  the  outfield  as  “miraculous”  or  a basketball  player’s  leaping  ability  as  “gravity-defying.” In newswriting, this is considered editorializing; in sports, it is the observation of a qualified observer. the  sportswriter  is  free  to  use  colorful verbs or adjectives to describe how one team “smashed” or  “clawed”  its  way  to  victory.  People  who  read  the sports  pages  or  listen  to  sports  broadcasts  are accustomed to such language and expect it.

SPORTS TERMINOLOGY CONSIDERATIONS You must know the terminology and the rules of the sport you are writing about. If you are not familiar with the sport, it is wise for you to start reading the sports sections of as many newspapers as possible to see how experienced writers cover games.

NAMES AND NUMBERS: Just as in Newswriting, names and numbers should stand out as red flags while copy editing; each must be double-checked. The difference in sports is that there are likely to be a lot more of both names and numbers. Double-check   name   spellings   and   make   sure numbers are correct. Also, make sure numbers add up, both in the story and in box or line scores.

SIDELIGHTS: Do not confine your story to action that takes place on the field.  Use sidelight information that may interest the reader: the size of the crowd, injuries that might have affected the outcome of the game, weather conditions, and so forth.

smoo� %s . �8T p�S e no absolute rules, but a fair guide is to try to keep sentences to 30 words or less and to shoot for 17 to 20. Vary the length of your sentences. For example, you  might  use  a  four-word  sentence,  then  a  15-word sentence,  then  an  eight-word  sentence,  followed  by  a 30-word   sentence.   This   keeps   your   writing   from becoming singsong.

Do  not  clutter.—  Never  crowd  too  many details  into  one  sentence.  Although  a  compound  or complex sentence may contain more than one thought, you  should,  for  the  most  part,  stick  to  sentences  that express one thought clearly and concisely. Otherwise, the  reader  is  apt  to  get  lost  in  a  mass  of  clauses  and details.

Do not repeat— If you say in the lead of your story that 61 people were killed in an accident, do not mention later in the story that 61 were killed. If the readers forget a fact, they can look back.   Space in media is valuable; do not waste it with redundancy. Refrain from beginning a sentence with the same word as the last word in the previous sentence and avoid beginning consecutive sentences alike, unless you do it deliberately for emphasis.

Paragraphs-

• The most general guideline for writing paragraphs is that they should be kept reasonably short.
• When you use short paragraphs, you give the reader facts and ideas in smaller packages that are easier to handle. The mind can grasp a small unit of thought more easily than a large unit.
• Most news copy is set in narrow columns with only three to five words per line. Paragraphs should be less than 60 words.
• Two or three sentences per paragraph are just about right, but it is   perfectly   acceptable   to   have   a   one-sentence paragraph, or even a one-word paragraph, if it expresses a complete thought. Yet, a succession of very short paragraphs may give a choppy effect to the writing.
• For best effect, alternate paragraphs of short and medium length.  Never begin succeeding paragraphs with the same words or phrases. This, too, can cause a monotonous effect that will soon discourage the reader.

Nb: (Augment this reading with the handout on ‘common errors in journalistic writing)

News REPORT

In fiction/literary writing the writer deliberately holds back the climax to build suspense and to make sure the reader reads the entire story. Most news stories, however, are constructed in just the opposite fashion.  The climax is presented first.

This  method  packs  the  most  important  facts  together with the barest necessary explanatory material into the first  paragraph-the  summary  lead.

A news story then   moves into the detailed portion of the story (the body) by covering the facts in diminishing order of importance.

This form of newswriting  is  commonly  known  as  the  inverted pyramid style because when it is diagramed, it appears as an upside-down pyramid

ADVANTAGES OF THE INVERTED PYRAMID STYLE

Presents Pertinent Facts First Most readers have neither the time nor the desire to read every word of every story in a newspaper. By using the summary lead, the writer focuses the reader’s attention on the news, arouses the reader’s interest and allows the reader to swiftly skim important facts. In other words, spill the whole story in the first paragraph. The reader can decide whether to continue reading the details or to go on to something else.

The primary objective of a news story then, is not to withhold information, but to present the facts with rapid, simple directness.

Facilitates Page Layout The inverted pyramid method of story construction is a valuable tool to the makeup person who is confronted with an eight-inch story and only six inches of column space. If the story has been written in inverted pyramid form, it becomes a simple matter of cutting lines of type from the bottom of the story until it fits the available space

Facilitates Headline Writing Headlines for news stories should tell the main facts in the briefest form. If a story is written in the proper inverted pyramid style, the copyreader (who writes the headline) can find these facts in the first paragraph.

THE LEAD

The opening paragraph of a news story is referred to as the lead (pronounced “leed”)-consist of who-what-when-where-why-how.

The lead is the first and most important paragraph of any news story. It attracts the reader and-states the important   facts   first.

In writing a lead for a straight news story, the writer must answer six basic questions about the event. Known as the five Ws and H questions, they are as follows:  who, what, where, when, why  and how. It is not necessary that a writer answer all of these questions in the lead sentence. \

The lead contains the news peg and is the most important part of the story. It can either make or break any news story.