Shaping Ideas

Action and reaction are the pillars of a compelling feature, while a well-defined theme statement keeps the story on track.

Source: Chapter 2 - The Art and Craft of Feature Writing [[202408212021]]

At the beginning of the story pitch phase, do these things.

  1. Forethought about the ending
  2. The range and scope of the story
  3. Its central message
  4. What approach allows the best presentation of the story
  5. What are the causes, and what are the effects? This will surface the potential action elements in the story.

A reporting feature story is not so much interested in details, explanations, and instruction. The story should focus only on action and reaction, including enough details, explanations, and instruction as necessary to support the main action and reactions.

#blindness

“Yet without the rough map logic provides, reporters do get lost in mazes like this one. White canes tapping, they stumble into byway after byway, wasting effort on material that only later they realize they have no room for”

It is ok to speculate about a story in the beginning, but as the work progresses, it is critical to let the events unfold into reality. Don’t try to fit preconceived ideas into the story. Let it build from the bottom up.

THEME

Writing a theme statement is the single most crucial step in writing a story. If I can’t say what my theme is, how can I expect my readers to know?

“Solution: Carve out a piece of the story map you’ve drawn and express it in a couple of simple, tightly written sentences. Concentrate on action—the main development, one or two of its likely effects and the logical major reaction to them, if any. Ignore all else. Tack this main theme statement up where you” can see it. Let it guide your work. Let it reproach you, question you, when you stray too far from it.

It’s the basis for the lede.

  • No details
  • Main movements or beats
  • Narrow scope
  • Newsy

DEVELOPING A PROFILE

“What should I concentrate on?” Helps form the scope of the feature.

“The general profile subject is chosen for its inherent interest, which usually depends on qualities that make it unique or unusual. So it makes sense in this kind of piece to pour most effort into detailing these qualities of differentness.”

Microcosm profile

(“Spider wore out two pairs of lips before he was 18,” says a co-worker), keeps his buddies laughing at his banter, but he is serious about the hazards of the job.

The Profile APPROACH

  • Involve the reader
  • Focus on a single subject

  • resolve complexities and abstracts into concrete

  • Collective profile example—instead of betting the whole pot on one farmer, he might instead have chosen as his subject West Bumstead itself, a small farm town in the Milo belt.

TONE

Bring to life both the protagonist (lead character) and the antagonist (opposition) to explore their conflict. This is where the drama lies—if there is any. If I can’t find any, how can I expect my reader?

References

  • Blundell, William E. The art and craft of feature writing: based on the Wall Street Journal guide. 1988.