TYPES OF FEATURE STORIES

 

Colour Piece: A feature story that essentially tries to enlighten readers on a particular theme or subject.

A color piece, also known as a color feature, is a journalistic feature that focuses on the impressions and descriptions of a subject matter. A story emphasizing the *colour of a situation; that is, one based on description, atmosphere, and emotion rather than straightforward factual reportage. A colour piece may accompany a more factual story as a separate-but-linked item or may be a stand-alone piece the purpose of which is to entertain and/or provide contrast with other unrelated material.

Fly on the Wall: A feature story that is conceived and narrated unobtrusively (not easily noticed )and mostly without the explicit permission of the subjects. 

Reporting can be very difficult at times, but we have to push through-

1.  Observe.  Act like a fly. Take a seat in a room's upper corner and observe. Be the teddy bear's covert camera. Simply watch and take note of every detail.

2.   Lead their lives. We pick up on the specifics and discover details that we could have overlooked in this way. This is the point at which we acquire a true sense of our subject's identity by experiencing their lives. 

3. Reduce our visibility. We outsiders are likely to be too conspicuous, therefore we strive not to draw attention to ourselves..

 4. Remind yourself that you are not one of them. Avoid being overly engrossed in the present. Respect our subject and don't forget our place. Remember that you are the fly and not the topic, so keep your distance. 

5. Examine your topic. Seek out anything you can locate. You need evidence in order to validate your topic. The Internet and paper trails are excellent starting points.

6. Consider every word. Writing something and reading repeatedly. "What about this word?" you ask. Ask yourself, "Is there a better word?" and constantly check synonyms.

7. Get to know the neighborhood. A good place to start is by reading the local newspaper. Attending a local place is an additional wonderful experience. In addition, the coffee shop. 

8.  Keep a friend around.  Sometimes writing can get lonely and depressing if our story isn’t going well.  Keep someone around who can cheer you up and renew your spirits.

Behind the Scenes: A feature story that shifts its focus from the principal event to the background and narrates an interesting tale.

In Disguise: "In Disguise" is a feature story told from the perspective of someone who is part of an event. Disguise and deception were central to much of the best-plotted literature of the 19th century. 

Interview: A feature story that develops itself around questions asked to a respondent, who is usually in a place of prominence. An interview can be defined as an interaction between two people, where questions are asked to elicit information. They are the key, quite simply, to information transmission, be it socially, formally or in business. And that is why journalists use interviews every day to find and report the news that keeps a society informed.

Profile: A feature story that is based on the exploits of a particular eminent person with or without his/ her interview.A "profile feature" is a newspaper article that explores the background and character of a particular person (or group). The focus should be on a news angle or a single aspect of the subject's personal or professional life. The article should begin with the reason the subject is newsworthy at this time, and should be based (not exclusively) on an extensive interview with the subject.

Biographical material is important, but should not be overemphasized: the biography is background to the news. Readers should be allowed to better understand the subject by seeing this person in the context of his or her interests and career, educational and family background.

When reporting a profile feature article, observe your surroundings carefully. Pay attention to your subject's habits and mannerisms. Subtle clues like posture, tone of voice and word choice can all, when presented to readers, contribute to a fuller and more accurate presentation of the interview subject.

When interviewing, encourage your subject to open up and express significant thoughts, feelings or opinions. Do so by asking open-ended questions that are well-planned. Make sure to research the subject of your profile before beginning your interview. This will help you to maintain focus during the conversation and to ask questions that will elicit compelling responses.

The article should open with the subject's connection to the news event and should deal later with birth, family, education, career and hobbies, unless one of those happens to be the focus of the story.

Fact Box/ Chronology: A feature story that provides plain and simple facts mostly in a chronological order.

Backgrounder/ A History of: A feature story that provides detailed information.

Full Texts: A feature story that is nothing but extracts from a book or transcripts of an interview.

Testimony: A feature story that is the first-person account of an individual.

https://www.youtube.com/watch?v=B30KvHixUmY

Analysis: A feature story that scholarly analyzes an event.

Vox Pop/ Expert Roundup: A feature story that accumulates opinions from the general citizenry and thought leaders concerning a subject.. Vox pops are interviews with ordinary people who are asked for a personal statement on a news issue.

Opinion Poll: A feature story that conducts a research of opinions and presents a generalized summary of the accumulated opinions.

Review: A feature story that reviews a work of art and presents a generalized opinion. While news items are extremely important, feature stories play the extremely critical role of building opinions and inciting actions. Features are extensively used for the purpose for advocacy as well. Feature writing is a skill that is acquired over a period of time. Proper training modules are required to turn a naturally gifted writer into a feature writer. 

SOME KEY POINTS OF FEATURE WRITING

 1. Focus should be on the topic and the topic should appeal to the audience. The feel and emotion that the writer creates determine the success of the feature. 

2. Be clear what the feature should do,that is t to inform, persuade, evaluate, evoke emotion, observe, analyze 

3. Accuracy is important. Make sure that the details are correct. 

4. Write for the audience. Know the audience’s taste and write. 

5. Interviews should be detailed and it would be better if the writer can meet the interviewed rather than talk on the phone  

6. Use Anecdotes (Life incidents), quotations and stories to make the feature attractive. 

7. Use the same tense form of the verb throughout the feature unless the situation demands 

 8. Write in Active Voice. Avoid lengthy, complex sentences and paragraphs. Use Active Voice of the sentence. 

 9. Collect details from various sources before writing a feature. Update information and talk to experts on the topic before writing. 

10. Check the grammar & spelling before sending for publication

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A documentary film tells a story about real life, with claims to truthfulness. A movie that does its best to represent real life and that doesn’t manipulate it. Documentary is defined and redefined over the course of time, both by makers and by viewers. Viewers certainly shape the meaning of any documentary, by combining our own knowledge of and interest in the world with how the filmmaker shows it to us.

Nanook of the North is considered one of the first great documentaries, but its subjects, the Inuit(Inuit are a group of culturally and historically similar Indigenous peoples).

 Flaherty built his story from his own experience of years living with the Inuit, who happily participated in his project and gave him plenty of ideas for the plot. Flaherty asked them to do things they no longer did, such as hunt for walrus with a spear, and he showed them as ignorant about things they understood.

The term ‘‘documentary’’ emerged uneasily out of early practice. When entrepreneurs in the late nineteenth century first began to record moving pictures of real-life events, some called what they were making ‘‘documentaries.’’ The term did not stabilize for decades, however. Other people called their films ‘‘educationals,’’ ‘‘actualities,’’ ‘‘interest films,’’ or perhaps referred to their subject matter—‘‘travel films,’’ for example the work of the great American filmmaker Robert Flaherty’s Moana (1926), which chronicled daily life on a South Seas island.

He defined documentary as the ‘‘artistic representation of actuality’’—a definition that has proven durable probably because it is so very flexible

 

In the 1990s, documentaries began to be big business worldwide, and by 2004 the worldwide business in television documentary alone added up to $4.5 billion revenues annually. Reality TV and ‘‘docusoaps’’—real-life miniseries set in potentially high-drama situations such as driving schools, restaurants, hospitals, and airports—also flourished. Theatrical revenues multiplied at the beginning of the twenty-first century. DVD sales, videoon-demand, and rentals of documentaries became big business. Soon documentaries were being made for cell phones, and collaborative documentaries were being produced online. Marketers who had discreetly hidden the fact that their films were documentaries were now proudly calling such works ‘‘docs.’’

 The truthfulness, accuracy, and trustworthiness of documentaries are important to us all because we value them precisely and uniquely for these qualities

 

Documentary is an important reality-shaping communication, because of its claims to truth. Documentaries are always grounded in real life, and make a claim to tell us something worth knowing about it.

 

Theatrical wildlife films such as March of the Penguins (2005) are classic examples of consumer entertainment that use all of these techniques to charm and alarm viewers, even though the sensationalism, sex, and violence occur among animals

 

Michael Moore’s Fahrenheit 9/11, a sardonic, anti-Iraq war film, addressed the American public directly, as people whose government was acting in the public’s name. Right-wing commentators in commercial media attempted to discredit the film by charging that it was indeed propaganda. 

 

He was putting forward, as he had every right to, his own view about a shared reality, frankly acknowledging his perspective. Further, he was encouraging viewers to look critically at their government’s words and actions. 

 

. ‘‘A ‘‘regular documentary’’ often means a film that features sonorous( imposingly deep and full.), ‘‘voice-of-God’’ narration, an analytical argument rather than a story with characters, head shots of experts. 

number of cuts, script or storytelling structure). Filmmakers choose the way they want to structure a story—which characters to develop for viewers, whose stories to focus on, how to resolve the storytelling. Filmmakers have many choices to make about each of the elements. For instance, a single shot may be framed differently and carry a different meaning depending on the frame: a close-up of a father grieving may say something quite different from a wide shot of the same scene showing the entire room; a decision to let the ambient sound of the funeral dominate the soundtrack will mean something different than a swelling soundtrack.

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