AIPD Subcourse DI0240 Edition A: Feature Writing and Editorials

8/16/2019 AIPD Subcourse DI0240 Edition A: Feature Writing and Editorials

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FEATURE WRITING AND EDITORIALS

Subcourse Number DI 0240

EDITION A

Army Public Affairs Center

Fort George G. Meade, Maryland

10 Credit Hours

Edition Date Marc! 1""#

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+e designed t!is subcourse to teac! you basic rocedures and tas-srelated to riting feature stories and editorials. $ecificinformation is ro/ided on t!e concet, function, structure and

tyes/ariations of feature stories riting ersonality rofilesriting sidebars for feature stories and t!e concet, urose,structure and tyes/ariations of editorials.

2!is subcourse reflects t!e doctrine current at t!e time t!esubcourse as reared. *n your on or- situation, alays refer tot!e latest official ublications.

%nless ot!erise stated, t!e masculine gender of singular ronouns isused to refer to bot! men and omen.

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AC2*'3 6ou ill identify t!e function, structure andtyes/ariations of feature stories and identify t!econcet, urose, structure and tyes/ariations ofeditorials.

C'3D*2*'3 6ou are gi/en t!e material resented in t!is lesson.

$2A3DA(D 2o demonstrate cometency of t!is tas-, you must ac!ie/ea minimum of 70 ercent on t!e subcourse e8amination.

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$ubcourse '/er/ie .

4esson 1 Feature +riting 1

Practice E8ercise......................................... ;

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Aendi8 D .........................................................;;

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LESSON ONE

FEATURE WRITING

:=? $oldier@s Manual 2as- 91:17=1#0;

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*n t!is lesson you ill learn t!e definition of a feature story, t!e basicaroac!es to riting t!e feature story and t!e different tyes offeatures.

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AC2*'3 Define t!e feature story, identify t!e fi/e stes toorgani>ing and riting a feature and recogni>e t!e differenttyes of features.


$2A3DA(D Perform all t!e duties described in t!is lesson.

(EFE(E3CE 2!e material contained in t!is lesson as deri/ed from

$2P :=:=?1:$M2G, 5ournalistD*3F'$ 5ournalism Handboo-Feature +riting for 3esaers by Daniel (. +illiamson, Hastings House

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FEATURE WRITING

INTRODUCTION

Feature stories are different from straig!t nes stories, !ic! ro/ideansers to t!e fi/e +@s and H t!e !o, !at, !ere, !en, !y and !o it! added details for suort. Features, in addition to t!e fi/e +@s andH call for imagination, colorful riting and usually more researc!.

&y definition, a feature story is a creati/e, sometimes subBecti/earticle, rimarily designed to entertain, educate or inform readers aboutan e/ent, erson, situation or an asect of life.

%nli-e straig!t nes stories, features are normally not timely. 2!is isan ad/antage for editors because features can be !eld until t!ere is sacein t!e aer. A story about a sergeant !ose !obby is ma-ing modelartillery eaons ill be of interest to readers anytime.

2!ere are, !oe/er, some features !ic! must aear s!ortly before orafter e/ents. 2!ese are called nes features and do !a/e time /alue.For e8amle, a feature inter/ie it! a sur/i/or of a !elicoter cras! maynot be /ery interesting si8 mont!s after t!e cras!.

BASIC APPROACHES

+riting t!e feature story reuires disciline and organi>ation.Concentrate on getting t!e reuired information and utting it into aneasily understood form.

$tart by de!"!"# $our %o&!c. Decide !at information you ant. Figureout !o to get it and !o to get it from. Plan !o you ill rite your

idea.

3e8t, rese'rc( %(e s%or$. C!ec- t!e nesaer@s file of old storycliings and bac- issues t!e morgue to find re/iously ublis!edmaterial on t!e toic. C!ec- references suc! as encycloedias, mas, etc.*f you use reference boo-s, gi/e full attribution.

2!en &re&'re )ues%!o"s. Preare more uestions t!an you t!in- you need toco/er t!e toic !en tal-ing to sources.

Se% u& %(e !"%er*!e+. During t!e inter/ie, obser/e your subBect and !issurroundings. 3ote gestures and body language. +!at does t!e room loo-

li-e &e a !uman camera describe your subBect and ertinent featuresof t!e en/ironment. $uc! details !el ma-e t!e story interesting andbelie/able for t!e reader.

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Deending on circumstances t!is ste may occur once you@/e defined yourtoic.

After t!e inter/ie, #o b'c, o*er $our "o%es immediately and add detailsyou may not !a/e noted at t!e time but t!at may add to your story. Fillin gas in your notes !ile t!e inter/ie is still fres! in your mind.Ma-e your notes readable before you rite. *t is best to summari>e alldetails ertinent to t!e story.

T-PES OF FEATURES

2!ere are se/eral forms features can ta-e. Attemts !a/e been made toclassify t!em, but usually any one feature ill e8!ibit se/eralc!aracteristics !ic! riters s!ould understand, suc! as t!e

o 3E+$ FEA2%(E 2ies closely to t!e a !umaninterest asect of a nese/ent.

E8amle A soldier loses 7 ounds in one year, and scores #00 ont!e Army P!ysical Fitness 2est.

o PE($'3A4 EIPE(*E3CE FEA2%(E 2ells an unusual e8erience, eit!er t!eriter@s or someone else@s.

E8amle A soldier finds missing brot!er after 19year searc!.

o C'3FE$$*'3 FEA2%(E +ritten in a confidential tone eit!er !umorousor serious, it! a ositi/e ending.

E8amle A former drug addict tells !o !e -ic-ed t!e !abit.

o 3A((A2*)E FEA2%(E $imilar to a s!ort story in form, it! action.

E8amle $oldiers send a ee-end !iteater rafting.

o E$$A6 FEA2%(E +ritten often from library researc!, e8lainsscientific facts or !istorical e/ents. 2!e riter must e8lain factsand figures in an interesting ay rat!er t!an in t!e @dry te8tboo-style.

E8amle A story about a +orld +ar ** battle in !ic! your unitarticiated and as cited for its action.

o *32E()*E+ FEA2%(E 2!oug! it !as ot!er /ariations, t!e inter/iefeature rimarily uses a uestionandanser format. Many maga>inescarry an inter/ie as a standard feature eac! issue.

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E8amle 2!e ost sergeant maBor@s /ies on t!e ne !ysical fitnessrogram.

o H'+2' FEA2%(E Gi/es secific directions or information.

E8amle Ho to balance your c!ec-boo-.

o PE($'3A4*26 FEA2%(E Describes a erson@s ac!ie/ements and focuses

on details of c!aracter and ersonality.

E8amle A soldier !o Boined t!e Army as a !ig! sc!ool drooutrecei/es !is master@s degree.

o H%MA3 *32E(E$2 FEA2%(E 2!e classic !uman interest stories arecommonly referred to as 2!e 2!ree &@ s &abies, &easts and&eauties. $tories about c!ildren, animals, beautiful omen or!andsome men alays intrigue eole. $o do stories in/ol/inganyt!ing odd or out of t!e ordinary, and stories about ad/enture.

Features normally fall into one of t!ree categories. 2!e t!ree most

common are nes features, !uman interest features and ersonalityfeatures. 2!ey may co/er suc! areas as

o ad/entures o e/eryday life and e8eriences

o !umorous incidents

o tragic occurrences

o oddities

o animals and t!eir antics

o seasonal items

o c!ronological seuences

6ou can find e8amles of feature stories in (eader@s Digest, PeoleMaga>ine, or in t!e 4ife $tyle section of t!e $unday nesaer.

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(e/ie t!e material in t!is lesson. Anser t!e uestions belo bycircling t!e 2 or F ne8t to eac! uestion. Comare your ansers it!t!e anser -ey on t!e ne8t age.

2 F 1. *n addition to sulying ansers to t!e fi/e +@s and H, featureriting normally calls for more researc!.

2 F 9. Defining your toic includes rearing uestions needed to co/ert!at toic.

2 F #. 4i-e t!e straig!t nes story, features are normally timely.

2 F :. 2!e !uman interest feature centers on one erson.

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LESSON TWO

ORGANI.ING TEE FEATURE STOR-


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4E$$'3 DE$C(*P2*'3

*n t!is lesson you ill learn about t!e sources for feature story ideas,!o to select a oint of /ie for t!e feature story and !o to recogni>et!e t!ree forms t!e feature story can ta-e.

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AC2*'3 *dentify basic sources for feature story ideas, understand!o to focus and outline before riting t!e story, recogni>et!e arts of a feature@s structure, and -no t !e t!reetyes of structures features can ta-e.




$2P :=:=?1:$M2G, 5ournalistD*3F'$ 5ournalism Handboo-Feature +riting for 3esaers by Daniel (.

+illiamson, Hastings House

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ORGANI.ING THE FEATURE STOR-

SOURCES OF FEATURE STOR- IDEAS

4oo- around you. +!at ideas for ossible feature stories do you see

+!at about t!at ri/ate on t!e comany drill team !o sea-s it! anaccent $!e as born and raised in Germany !at is s!e doing in t!e %.$.Army

+!at about t!at fello ne8t to you +!y does !e -ee tal-ing about )s,differentials and s!oc-s +as !e really it! Al %nser as a mec!anic fort!ree years

+!at about t!at retiree you met at t!e ost e8c!ange He@s t!e one !olims and -ees riling you by calling. you $onny. +!y does !e -eetal-ing about es t!e nes story for t!e reader andgi/es it e8anded meaning.

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Military nes gi/es t!e alert and s-illful riter more t!an a !andful ofitems t!at could be bro-en don and broug!t a little closer to !ome, it!issues suc! as

o c!anges in regulations

o ay increases

o olicy

o mission

o organi>ation

*t ta-es an alert riter to turn bare facts and sometimes dull items intointeresting, meaningful articles.

SELECTING A POINT OF /IEW

&efore you start riting, decide !at oint of /ie is best for yourfeature. 6ou may rite from someone else@s, or your on /ieoint. 2!eoint of /ie s!ould be identifiable and consistent in t!e story.

o A3'2HE( PE($'3@ $ P'*32 'F )*E+ *n !uman interest features, ritefrom t!e /ieoint of a erson in/ol/ed in t!e story.

E8amle 2!e Army ri/ate closed !is eyes, reflecting briefly about!is deed. * !eard a oman screaming, @Hel meJ@ As *turned t!e corner * sa smo-e and flames coming from about;0 feet aay. Guided by an infant@s cries, * raced insideand craled t!roug! t!e smo-ey inferno, !e said.

o * P'*32 'F )*E+ %se t!is aroac! !en you is! to reort !atyou sa and !o you felt about it. &ut use it infreuently.

E8amle * atc!ed t!e crod lea/ing t!e field and ondered if it...

FOCUS AND OUTLINE

Focusing means to test your collected facts against t!e original idea youidentified in t!e first ste of t!is rocess, and to redefine t!e idea ift!e facts no longer suort your original t!esis. As- yourself +!at ist!is story about +!y am * riting it +!at is t!e main oint to tell t!e

readers +rite don your main oint in t!e form of a sentence.

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For instance T(!s s%or$ !s 'bou% '" Arm$ ser#e'"% %r$!"# %o m',e %(eO$m&!c s+!mm!"# %e'm . 6ou mig!t decide to limit t!e ground you illco/er in t!e story. 6ou mig!t tell about t!e grueling training t!esimmer !as done during offduty time to get ready for tryouts. *t ouldbe natural to tal- about

o !oes and dreams

o family suort

o !o simming fits in it! t!e soldier@s duties

o !o simming doesn@t fit in it! t!e soldier@s duties

*t ould ta-e a crafty riter, a sleey editor and a /ery tolerant readerto ermit muc! sace to be de/oted to unrelated facts suc! as t!esimmerKs grades in elementary sc!ool and layground friends. 6our mustlea/e out facts t!at don@t ertain to t!e focus you@/e establis!ed. 5ustbecause t!e source ga/e you an interesting uote doesn@t mean it must beused. %se only facts t!at fit. 'ften a erson !as ot!er interesting

!obbies or asects of !is life. Mention t!em, but don@t get sidetrac-ed.

'utlining !els you identify t!e facts t!at fit. *t can be a formalrocess it! !eadings and sub!eadings. 'r it can be as informal astearing ages out of your noteboo- and reordering t!em. 2!e oint is,some for. of outline ill !el you order t!e facts so you -no !o tobegin, !at to ut into t!e middle and !o to end your story. )ery oftent!e difference beteen riting a difficult story and a simle one is anoutline.

STRUCTURE

2!e feature story usually includes t!ese arts t!e lead, bridge, bodyand ending.

2!e LEAD grabs t!e reader@s attention and sells t!e story. Deending ont!e tye of lead used, it could contain all fi/e +@s and t!e H, or itmig!t anser Bust one of t!em. Hoe/er, t!e remaining +s or H must belogically ansered else!ere in t!e story.

o +!o 2!is can be ersonal, by mentioning t!e subBect@s name, orimersonal, by em!asi>ing a erson@s title or grou@ s name.

o +!at 2!is satisfies t!e reader@s curiosity about !at !aened.

+!at and !o leads are used most often.

o +!en 2!e time element of an e/ent.

o +!ere $ometimes !ere an e/ent or incident occurred or is to occuris t!e most imortant asect of a story.

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o +!y 2!e !y element can be t!e most imortant fact !en t!e anserdirectly affects t!e reader or ot!erise is of imortance to t!eaudience.

o Ho Em!asi>ing t!e anser to t!e !o uestion could add to t!ereader@s interest in t!e story.

$ometimes called t!e t!esis aragra!, t!e BRIDGE is a transition

beteen t!e lead and body and !els bac- u or add information to t!e lead

2!e BOD- de/elos t!e story it! details.

2!e ENDING may lea/e t!e reader it! a strong conclusion or summary, or itcould lea/e t!e reader !anging !en t!e outcome of a situation is stillunclear.

Alt!oug! /arious diagrams !a/e been dran u to s!o t!e structure ororgani>ation of t!e feature story, t!ere is no one correct structure for afeature. Features may ta-e one of to forms

Figure 91Feature Pyramid

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2!e feature yramid uses a strong lead and an ending t!at is eual, ornearly eual, in imortance to t!e lead. *t is er!as t!e most commonform used. Facts are gi/en in order of increasing imortance, and t!is ist!e most common structure in feature riting.

Figure 99C!ronological Pyramid

2!e c!ronological yramid !as a strong lead, a brief bridge, and t!e body

is ritten in t!e order in !ic! e/ents !aened. 2!e body usually leadsu to a strong, climactic conclusion.

2yical features !ic! are ritten in t!is format include narrati/e,ersonal e8erience, confession and !oto articles.

(emember t!at t!e story content is often t!e best guide to !el determine!ic! format ill best resent your feature.

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2 F 1. Possessing s!ar riting s-ills ro/es to be t!e featureriter@s most /aluable asset.

2 F 9. Focusing means to determine t!e main oint you ant to con/ey toyour readers.

2 F #. 2!e lead of a feature story must contain all fi/e +@s and t!e H.

2 F :. 2!e body of t!e feature story ser/es as a transition from t!elead and t!e bridge.

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LESSON THREE

WRITING THE FEATURE STOR-


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4E$$'3 DE$C(*P2*'3

*n t!is lesson you ill learn about t!e nine tyes of feature leads, t!eurose of t!e bridge, !o to build t!e feature@s body and about t!e fourtyes of endings commonly used in feature stories.

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AC2*'3 (ecogni>e t!e nine tyes of feature leads, -no t!e functionof t!e feature@s bridge, aly t!e gi/en tec!niues in orderto de/elo t!e story@s body, and identify t!e four tyes ofendings used in feature riting.




$2P :=:=?1:$M2G, 5ournalistD*3F'$ 5ournalism Handboo-Feature +riting for 3esaers by Daniel (.

+illiamson, Hastings House

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WRITING THE FEATURE STOR-

FEATURE LEADS

2!e urose of a feature lead is to get and -ee t!e reader@s interest andto set t!e tone of t!e story. 2!e feature lead may be as s!ort as one orto sentences or it may ta-e to, t!ree or more aragra!s to fullyde/elo.

Feature leads are classified into t!e folloing nine categories

o $%MMA(6 4EAD Gi/es t!e main oint of t!e story, arouses interestand allos sift scanning of imortant facts.

E8amle *t@s not easy for retired $gt. 1st Class Martin 2. 5o!nsonto -ee u on a 10< funrun. He lost !is left leg fi/eyears ago.

o DE$C(*P2*)E 4EAD Causes t!e reader to dra a mental icture oft!e subBect or site and laces t!e reader a fe feet aay, inosition to see, !ear and smell !at is being ritten about.

E8amle 2!e last c!oer sat don at Fire $uort &ase (oss in a!irl of reddis!bron dust amidst a !undred or so e8cited,Babbering )ietnamese men. *t !ad been a long flig!t fromDanang and t!e #0 assengers aboard suffered from ringingears and bu>>ing limbs. As soon as t!e ram as loered,t!ere as t!e usual rus! on obbly legs to solid ground.2!e searc! for a familiar face or landmar- began by seatdrenc!ed, greenclad men loaded don it! ac-s, cartons ofcigarettes and mail bags.

o ?%'2A2*'3 4EAD Gi/es a s!ort, attentiongetting remar- t!at is soimortant t!at it o/ers!ados ot!er facts of t!e story. *t must alsobe stri-ing to t!e reader and ser/e to lead !im into t!e story.

E8amle * loo- deat! in t!e face e/ery morning, Master $gt. 5ames


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of feature lead. ?uestions to !ic! t!e reader can uic-ly anseryes or no must be a/oided.

E8amle +!y s!ould an infantryman send countless !ours studyingtoard a college degree

CAUTION A ea- uestion lead could get readers to anser, +!ocares A strong uestion lead, !oe/er, ill rea benefits since

eole are usually curious.

o D*(EC2 ADD(E$$ 4EAD 2!e riter communicates directly it! t!ereader. 2!e ord you@ is inserted some!ere in t!e lead. 2!issecond erson singular address s!ould be used saringly.

E8amle *f you lay your cards rig!t, you could get a freeeducation at t!e college of your c!oice.

o 2EA$E( 4EAD Decei/es t!e reader in a Besting manner and, bygrabbing t!e reader@s attention, gently leads !im into t!e story.

E8amle *t !as legs, a t!ousand toes, a !undred noses and scores of!orns. 3o, it@s not a science fiction monster. *t@s t!enely formed 9"t! *nfantry Di/ision marc!ing band.

o F(EA< 4EAD %ses a lay on ords, alliteration, oetry, or anunusual tyogra!ic de/ice to roduce t!e desired effect of luringt!e reader into t!e story.

E8amle For sale 'ne ton.

o 3A((A2*)E 4EAD Puts t!e reader into t!e story and ta-es !im t!roug!it. 3arrati/e leads are esecially effecti/e in telling ad/enturestories. 2!e riter creates a situation and s-illfully lets t!ereader become t!e rincial c!aracter, eit!er by lea/ing a /acuum!ic! t!e reader mentally fills or by alloing t!e reader to identifyit! a erson in t!e midst of t!e action.

E8amle 2!e red taillig!ts of t!e fleeing Cadillac gre smaller as$gt. Dan Caer floored t!e accelerator of t!e militaryolice sedan, us!ing t!e seedometer needle ast "0, in aneffort to catc! t!e seeder.

o C'M&*3A2*'3 4EAD Combines t!e best elements of to or more of t!e

re/iously described feature leads.

E8amle Ho can you stac- t!e dec- in your fa/or for t!e ne8tromotion board Combines direct address and uestion leadforms.

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+!ate/er form of feature lead you decide to use for a articular story,you must try to sin- t!e !oo- into t!e reader it! t!e first fe ords.Many communication e8erts say if you don@t get t!e reader@s interest int!e first fe ords, you on@t.

THE BRIDGE

2!e bridge of a feature story could be a aragra! or a s!ort sentence.

2!e bridge bac-s u t!e lead or adds information to t!e lead. it s!ouldro/ide a smoot! transition into t!e body for t!e reader.

E8amles

4ead *t@s not easy for retired $gt. 1st Class Martin 2.5o!nson to -ee u on a 10mile marc!. He bro-e bot! !islegs in si8 laces a year ago in an auto accident.

&ridge 2!e Army sergeant !as o/ercome massi/e obstacles createdby !is !andica. $tory goes on describing !o !eo/ercame t!e obstacles and !is feelings about t!e!andica.

4ead * loo- deat! in t!e face e/ery morning, Master $gt.5ames


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t!e reader to form a mental icture of t!e erson !e@s reading about.

2!e feature story gi/es insig!ts t!at set t!e subBect aart. 2!eseinsig!ts gi/e t!e reader t!e feeling t!at !e !as actually met t!e subBect.

Daniel (. +illiamson, in !is boo-, Fe'%ure Wr!%!"# or Ne+s&'&ers, callst!e ersonality feature t!e Bournalistic art of caturing a !uman beingon aer. He adds t!at t!e riter must try to cature t!e c!aracter

it!in a reasonable amount of sace. He must immediately lunge into t!ec!aracter, grabbing t!e reader@s interest by em!asi>ing a fascinatingfacet of t!e subBect.

Many military Bournalists mista-e t!e use of adBecti/es and ad/erbs forcolorful riting. +it!out attention to detail and descrition, all t!eseords do is ma-e for a lot of editoriali>ing on t!e art of t!e riter.2!is is not to say t!at all ad/erbs and adBecti/es s!ould be a/oided. 2ot!e contrary, t!ey s!ould be used to gi/e t!e allimortant detail anddescrition t!at ma-es a feature come ali/e. &ut it is t!e recision it!!ic! t!ey are used, not t!eir use, t!at mar-s t!e difference beteen ano/ice and a rofessional.

2!e no/ice mig!t rite

T(e b!# m'" +',ed 'cross %(e room %o (!s 'r#e1 d'r, des,1so+$ s'% do+"1 e'"ed or+'rd '"d !" ' r!e"d$ m'""er !"*!%ed %(e *!s!%or %o m',e (!mse comor%'be

(eading t!is, you ould !a/e no idea if t!e subBect is tall, s!ort, slim,stoc-y, dar- or lig!t comle8ioned. AdBecti/es li-e big are unclear.6ou -no not!ing of t!e setting of t!e article. *nstead, t!e riter !astossed adBecti/es and ad/erbs into t!e coy at random and !as only told

t!e reader about t!e scene. 2!ese detract from, rat!er t!an add to, t!eriting.

2!e rofessional, on t!e ot!er !and, in describing t!e same scene mig!trite

He &odded 'cross %(e c'r&e%1 (!s muscu'r 3oo% r'me #!d!"#'s (!s '"ces%ors m!#(% ('*e s!&&ed %(rou#( %(e Nor%( Amer!c'"ores%s He'd or+'rd1 c(!" e'd!"# %(e +'$1 (e s%',ed %(e m'(o#'"$ des, %('% !ed %(e cor"er o %(e room "e'r %(e +!"do+

He &ued %(e &'dded c('!r rom be(!"d %(e des, '"d e'sed !"%o

%(e se'% A s!% o ' sm!e e5&osed %+o e*e" ro+s o %ee%( m'de +(!%er b$ %(e!r co"%r's% %o (!s bro"6e s,!" T(e !#(% rom %(e +!"do+ 's(ed bue o" (!s b'c, ('!r

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T(e c(!seed e'%ures so%e"ed

78',e $ourse '% (ome17 (e s'!d

3ote t!e details in t!e second e8amle. +!at e !a/e no are t!e riter@sobser/ations. He !as s!on you t!e scene.

Descr!be %(e Se%%!"#

Describing t!e setting !els a feature come ali/e. *f t!e inter/ie ta-eslace in t!e subBect@s office, is it neat Cluttered f it@s neat as amon-@s cell, t!e riter s!ould say so. f it loo-s li-e a mon-ey@s cell,t!at s!ould be said too, but in a ay !ic! is not insulting to yoursubBect.

*f t!e inter/ie ta-es lace in t!e subBect@s !ome, !at is it about t!elace t!at reflects t!e subBect@s ersonality and c!aracter For e8amle,if a 5o!n +ayneis! man !as !is den decorated it! ruffles and lace andainted in astel colors, t!is certainly tells somet!ing of !is

ersonality.

S%'%!s%!cs

$tatistical material, !en used roerly, can create reader interest. 2!esecret is to translate t!e figures into terms t!e reader can comre!end.'ften t!is is done by reducing large figures to smaller ones

Abou% 9:0 Amer!c'"s d!e !" mo%or *e(!ce 'cc!de"%s e*er$ d'$

Bur#'r!es occurred !" %(e U"!%ed S%'%es '% %(e r'%e o "e'r$!*e ' m!"u%e1 'rou"d %(e coc, T('%;s o"e bur#'r$ e*er$ 92

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=uo%es

A srin-ling of direct uotations by t!e subBect ill add >est to t!efeature. 2!e secret !ere is to select t!e uotations t!at ill illustratean asect of t!e ersonality t!at is being em!asi>ed. *f you ant tos!o t!at t!e subBect ossesses a uic- it, use a uotation illustratingt!at oint.

?uotations by t!e subBect can say more t!an any number of ords a ritercould ut on aer. 2!e manner in !ic! a erson sea-s, !is accomanyinggestures, and t!e actual ords used can all create an image for t!ereader. 'mit rofanity or obscenities.

'ne caution on uotes Ma-e t!em count. Don@t carry t!e story it! oneboring uote after anot!er. Don@t ut statements of t!e ob/ious insideuotes. $ummari>e lengt!y uotes it! concise ara!rasing and use onlyt!e li/eliest, most telling uotes to let t!e subBect dislay !isc!aracter or !iloso!y in !is on ords.

For instance, loo- at t!is uote

7I;*e e">o$ed ' m$ 'ss!#"me"%s -ou mee% some #re'% &eo&e !"%(e Arm$7

2!is uote is not!ing more t!an adding, ure and simle. 2!e riter Bustfilled some sace by using t!is uote, a flatly ob/ious statement t!at!alf a million soldiers mig!t ma-e. *t re/eals little about t!eersonality of t!e subBect. 2!e only t!ing e learn from t!at uote ist!at t!e riter lac-ed imagination.

7I used %o &'$ drums !" ' 30s roc, b'"d '"d our co"cer%s m'de

' %(e &r'c%!ce +or%(+(!e1 +!%( %(e ,!ds scre'm!"# '"d 'O"ce ' bu"c( o #!rs c'me '%er us1 %(ou#(

7A% !rs% I %(ou#(% %(e$ >us% +'"%ed 'u%o#r'&(s1 bu% %(e$ cu% o our ('!r '"d %ore our co%(es or sou*e"!rs Bu% %('% +'s %(eo"$1 +('% $ou +oud c'1 re'$ ;b'd; e5&er!e"ce '"d !% +'s";%re'$ so b'd O*er'1 I '%e !% u&1 e*e" #e%%!"# %ore u& I +'s ' b!# s%'r !" ' !%%e #''5$7

2!is uote is muc! too lengt!y. Probably a fait!ful transcrit of aninter/ie, but some good material gets buried in a lot of slo .Combining some tig!t ara!rasing it! t!e brig!test uotes fi8es it. 'neay to do it

?!ds scre'med '% (!m Wome" '%%'c,ed (!m1 %e'r!"# '% (!sco%(es '"d ('!r

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* ate it u, !e said of !is time sent ;ounding drums in a =0s roc-band. * as a big star in a little gala8y.

Also, ma-e sure to attribute all information. Anser t!e $ +@s and H infeature riting as in straig!t nes riting. feature riting style andformat is more fle8ible, t!e reader still ants to -no as muc! asossible about t!e feature subBect. &e obBecti/e sa/e oinions foreditorials. *f you dra conclusions, be sure you@/e gi/en e/idence to

suort t!em. A/oid libel.

6ou are free to use more descrition and descriti/e ords, and to usemore uotes, but you also ill need more transitions beteen aragra!s to!el ma-e t!e story flo better, and to en!ance readability. 2ransitionsare ords or !rases t!at lin- sentences or aragra!s toget!er. $omecommon e8amles are

again as a result finallyindeed on t!e ot!er !and mean!ilestill since not only t!atof course on t!e contrary !y

ne/ert!eless a case in oint on t!e !oleearlier !ile because

THE ENDING

2!e conclusion of all good feature stories s!ould be aroriate to t!emood of t!e story and to t!e tye of structure in !ic! t!e story asritten. As in t!e lead, t!e riter is limited only by !is ability incomosing a conclusion.

2!ere are se/eral tyes of endings !ic! are commonly used in featureriting

o $%MMA(6 E3D*3G $ummari>es t!e story for t!e readers.

o $2*3GE( E3D*3G Presents a startling fact or surrise t!at Boltst!e reader.

o C4*MAI E3D*3G An ob/ious or logical ending to a story told inc!ronological order.

o %3E3D*3G E3D*3G 4ea/es t!e reader !anging, or tells !im t!eoutcome is still uncertain.

o +(AP%P 2ies u any loose ends, ansers a uestion or sol/es aroblem osed in t!e lead. An anecdote or strong uote often or-sin t!is tye of conclusion.

o 2*E&AC< (efers bac- to an idea, -ey ord or uote lanted earlierin t!e story, often in t!e lead.

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o C'M&*3A2*'3 Any ending t!at combines to or more of t!e abo/etyes.

FINAL TIPS

(efer to t!e folloing to !el de/elo your feature riting s-ills

o %se t!e lead to set t!e tone or mood of t!e story.

o Ma-e sure your lead is aroriate to t!e tye of story.

o De/elo t!e bridge so t!at it lin-s t!e lead to t!e body.

o Carry t!e tone or mood of t!e lead t!roug!out t!e story.

o Maintain your story@s focus.

o A/oid using clic!s, but do emloy suc! literary de/ices asmeta!ors, similes, ersonification and !yerbole

o %se /i/id /erbs and nouns.

o Gi/e aroriate descrition of t!e eole, laces and t!ings in t!estory.

o Delete unnecessary, nonfunctional adBecti/es and ad/erbs.

o $tay aay from suc! relati/e terms as tall, old and beautiful.

o %se meaningful uotes to !umani>e t!e story and assist in its flo.

o Add attribution !en needed.

o %se transitions to carry t!e reader from one t!oug!t to anot!er.

o Alternate sentence and aragra! lengt!.

o 2ranslate numbers and statistical data into understandable terms.

o Ma-e sure t!at t!e conclusion to your feature story matc!esaroriately.

o Ensure t!at your feature is free of any factual errors.

o Ensure t!at your feature is free of libelous statements and does not/iolate security, accuracy, olicy or roriety.

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P(AC2*CE EIE(C*$E

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2 F 1. 2!e urose of a feature lead is to get and -ee t!e reader@sattention.

2 F 9. 2!e uestion lead causes t!e reader to dra a mental icture oft!e subBect andor site of t!e story.

2 F #. 2!e narrati/e lead uts t!e reader into t!e story and leads !imt!roug! it.

2 F :. 2!e body of a !uman interest article is often ritten in t!ein/erted yramid format.

2 F ;. +!en using uotes in a feature story, t!ere is no need forara!rasing.

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A3$+E(


30/57

LESSON FOUR

WRITING SIDEBARS

:=? $oldier@s Manual 2as- 91:17=1#0=

')E()*E+

4E$$'3 DE$C(*P2*'3

*n t!is lesson you ill learn about sidebars !at t!ey are and !o t!eyare used it! features.

2E(M*3A4 4EA(3*3G '&5EC2*)E

AC2*'3 Define a sidebar, recogni>e a sidebar@s urose, identify!o to find a sidebar and understand t!e fundamentals ofriting sidebars.




$2P :=:=?1:$M2G, 5ournalistD*3F'$ 5ournalism Handboo-Feature +riting for 3esaers by Daniel (. +illiamson, Hastings House

97 D*09:


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WRITING SIDEBARS

PURPOSE

*f you can /isuali>e a motorcycle and sidecar, you can /isuali>e t!esidebar.

2!in- of t!e motorcycle as t!e nes story and t!e sidecar as t!e sidebar.2!e sidecar accomanies t!e motorcycle t!e sidebar accomanies t!e nesor feature story.

Daniel (. +illiamson, aut!or of Fe'%ure Wr!%!"# or Ne+s&'&ers, definest!e sidebar as normally a brief account t!at relates directly to a maBornes story or indet! story on t!e same age or at least in t!e sameedition.

*n effect, t!e sidebar rides t!e coattails of t!e story. *t !els t!ereader relate to t!e nes by e8laining t!e imortance or significance ofrelated facts.

2!e sidebar may also e8and on t!ose facts resented in t!e !ard nesstory. &y using t!e sidebar for e8ansion or furt!er clarification, t!enes story ill not be cluttered it! e8cessi/e detail.

Heling t!e reader relate to t!e cold, !ard facts is anot!er urose oft!e sidebar. *f t!e nes story tells t!e reader 1: eole ere -illed ina ost construction accident, t!e sidebar may s!o !at t!e /ictims@sur/i/ors are going t!roug!. *f t!e nes story tells t!e reader an Armycommissary ill start selling a ne item !orsemeat ne8t mont!, t!esidebar may s!o customer reaction.

2!is oints out t!e difference beteen telling and s!oing. 4et t!e factsin t!e nes story tell let t!e sidebar s!o. (eaders get t!e fi/e +@sand t!e H in t!e nes or feature story. 2!e sidebar can !el t!em relateto t!e facts and bring facts closer to !ome. Facts and additionalinformation can be included in t!e sidebar to suort t!e nes.

FINDING SIDEBARS

Ho do you find t!e sidebar idea Many reorters disco/er a sidebar idea!ile co/ering a nes e/ent. A Bournalist co/ering a routine c!ange ofcommand ceremony may find t!e ne commander is a Medal of Honor inner.

After inter/ieing t!e ne commander, t!e Bournalist turns in t!e c!angeof command ceremony story and a sidebar on t!e commander. (eaders get notonly t!e nes of t!e c!ange of command, t!ey also get a story t!at letst!em -no somet!ing about t!e ne boss.

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For t!e most art, sidebars aren@t lanned. *t ill ta-e some digging andsome legor-, but e/en t!e most routine nes story can be comlementedit! a sidebar.

WRITING SIDEBARS

*n riting t!e sidebar, a brief tiebac- to t!e nes story or nes featuremust be included in t!e lead to ma-e it clear to t!e reader t!at t!e

stories go toget!er. 2!e tiebac- may be as brief as ...a result ofFriday@s bridge collase !ere... or ... commissary customers@ reactionsto t!e addition of !orsemeat !ere... 2!e tiebac- simly lets t!e reader-no t!e nes story and sidebar are li-e t!e motorcycle and sidecar t!eygo toget!er.

Alt!oug! it@s a temtation, resist t!e urge to o/errite. Don@t getcarried aay it! your ords. 2!e sidebar story s!ould be fairly brief soit can be laced ne8t to or near t!e nes or feature story.

Ho brief is brief 2!at deends on t!e lengt! of your nes story.$idebars may be longer or s!orter t!an t!e nes story. Hoe/er, if yournes story is 90 column inc!es, c!ances are you can cut some of t!esidebar. &e rut!less !en you ta-e encil to your coy. *t ill !el-ee t!e sidebar brief. Placement of t!e sidebar, used in conBunctionit! t!e tiebac-, ill s!o t!e connection beteen t!e stories.

A sidebar, !oe/er, s!ould not be confused it! a multiart article or astraig!t secondday follo u story. *t is an indi/idual story !ic!gros out of a larger o/erall story.

Focus your attention on

o descrition

o transitions

o mood

o t!eme

%se ords and !rases t!at ill aeal to t!e reader@s fi/e senses. $!ot!e reader !at you !a/e told !im in t!e nes or feature story. 2!efolloing guidelines can be used !en riting sidebars

o Focus t!e sidebar on a single asect of t!e main story.

o +rite t!e lead to your sidebar it! an aroriate tiebac- to t!emain story.

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o Do not reeat information or uotes found in t!e main story.

o +rite t!e sidebar in nes or aroriate feature style.

o Ma-e sure t!e story is free of factual error.

o Ma-e sure your sidebar is free of libelous statements and does not/iolate security, accuracy, olicy or roriety.

o Do not /iolate t!e Associated Press $tyleboo-, and ensure correct useof selling, grammar, unctuation or synta8.

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P(AC2*CE EIE(C*$E

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2 F 1. A sidebar can !el a reader relate to t!e cold, !ard facts of anes or feature story.

2 F 9. *n riting a sidebar, a brief tiebac- to t!e nes story or nesfeature must be included in t!e te8t.

2 F #. 2!e sidebar story s!ould be fairly brief so t!at it can belaced ne8t to t!e nes or feature story.

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A3$+E(


36/57

LESSON FI/E

WRITING EDITORIALS

:=? $oldier@s Manual 2as- 91:17=9:99

')E()*E+

4E$$'3 DE$C(*P2*'3

*n t!is lesson you ill learn to recogni>e t!e concet, urose, structureand different tyes of editorials.

2E(M*3A4 4EA(3*3G '&5EC2*)E

AC2*'3 Define t!e editorial, understand t!e urose and structure oft!e editorial and identify t!e different tyes of editorials.




$2P :=:=?1:$M2G, 5ournalistD*3F'$ 5ournalism Handboo-

## D*09:


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WRITING EDITORIALS

INTRODUCTION

As- a Bournalist to rite an editorial and !e can t!in- of a t!ousandt!ings t!at need to be said. Military reorters are obser/ers of one oft!e largest go/ernment agencies in t!e orld, and t!ey -no !at needs tobe fi8ed and !at doesn@t. &ut before t!e young riter begins camaigning/ia !is editorial age, t!ere are a fe t!ings !e must -no. First,military Bournalists must understand t!e uroses of editorials inmilitary ublications. 2!en, t!ey must -no !at to rite editorialsabout.

Editorial ages e8ist to suort t!e command. A military editorialriter@s Bob is not crusading to defend First Amendment rig!ts. 2!e Bobof an Army editorial riter is to suort t!e command and its commandinformation obBecti/es.

2!at doesn@t mean your editorial ages can@t be li/ely and useful. 2!ebest editorial ages co/er contro/ersy from all sides. 2!ey gi/e /oice tomembers of t!e command as ell as t!e commander. 2!ey treat reetiti/e,e/en boring, subBects in/enti/ely.

EDITORIAL TOPICS

2!e editorials you rite must be of interest to t!e Army audience. 2!etoics must be ritten to comly it! t!e commander@s command informationobBecti/es and may not /iolate Army olicies or regulations.

'ften your editor or commander ill assign t!e toic. 6ou may !a/e

oortunities to rite editorials on a /ariety of subBects to suortcommunity goals, local and Armyide command information rograms.$ometimes you ill determine t!e subBect of t!e editorial. +!en you getto c!oose t!e toic, be sure to select one of interest to your audience!ile also suorting command information goals.

2!e folloing subBects are not alloed in military editorials

o ta-ing ositions on olitical arties, candidates or oliticallyacti/e grous

o criticism of a !ost country or discussion of its olitics

o subBects t!at discredit t!e Army or your ost, e/en if t!e ci/ilianress ublici>es t!e matter

o attac-s on, or ridicule of, t!e military, its olicies, or its member

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o belittling any race, religion, or culture

o ersonal et ee/es

DEFINING TIE EDITORIAL

Editorials can best be understood by comaring t!em to ot!er Bournalistic

forms and describing t!e function eac! ser/es.

$traig!t nes stories reort t!e facts it!out embellis!ment orconclusions. *nterretati/e reorts e8lain t!e nes in terms of causeand effect, adding muc! more indet! co/erage and analysis. Featuresro/ide !uman interest information. Editorials offer oinions and /iesabout e/ents and t!eir effect on eole.

For e8amle, a ublication mig!t run a straig!t nes story about a omanofficer ta-ing command of an allmale unit. A feature story about t!ee/ent mig!t em!asi>e !er ersonality and bac-ground. An interretati/estory about t!e same e/ent mig!t gi/e more details and e8ert testimonye8laining t!e role of omen in t!e Army. An editorial on t!is subBectmig!t urge men to gi/e omen eual resect and treatment.

T-PES OF EDITORIALS

+!ate/er t!e definition, editorials usually ser/e one of t!ree functions.2!ey

o inform

o influence

o entertain

I"orm

Many military editorials are informati/e. $ome e8amles includee8lanation of a ne dress code, effects of drug abuse in !ic! t!econclusion is only imlied and safety recautions for !oliday dri/ing.

I"ue"ce

2!is editorial tries eit!er to con/ert t!e reader to t!e riter@s or t!e

command@s /ieoint, or to !el !im crystalli>e t!oug!ts on an issue. *tuses argument to say readers to a oint of /ie. 2!ese editorialsusually include a call to action as-ing t!e reader to do somet!ing ora/oid somet!ing.

#; D*09:


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A good aroac! in editorials designed to influence is to state t!eroblem, define it, suggest ossible solutions and offer a decision on!ic! of t!e alternati/es ould be t!e best c!oice. Anot!er aroac! isto state your subBect and oint of /ie in t!e lead, t!en bac- u youreditorial oinion it! logic. 3o matter !at aroac! is c!osen, t!iseditorial must s!o e/idence of sound reasoning and diligent, accurateresearc!.

A good balance of information considering all ossible oints of /ie illgi/e t!e reader t!e idea t!at t!e article and t!e ublication@s editorialolicy are ort!y of consideration.

E"%er%'!"

Editorials ritten to entertain ro/ide insig!tful, colorful and sometimes!umorous commentary. 2!ey may resent an ironic o-e at man@s ea-nessesor s!ortcomings. 2!ey may loo- bac- at t!e good old days, reflect a!uman interest angle at c!anges in t!e nes or simly reflect on someasect of life.

A ellritten entertainment editorial uses a uic- Bab of !umor orinsig!tful ui to ma-e an editorial oint muc! uic-er and more effecti/et!an can a dry sober article on t!e same subBect.

%se caution it! t!is tec!niue. Entertainment, articularly !umor, isdifficult to master and is easily o/erdone by no/ices. Also, some eolemig!t not areciate t!e !umor, deending on t!e subBect.

8AINTAINING OB@ECTI/IT- IN EDITORIALS

An editorial generally forces t!e riter to ta-e a side. $till, t!e

riter must remain obBecti/e, to t!e degree t!at all sides of an issue areresented in t!e editorial. 2!e -ey to obBecti/ity is researc!. 2!eeditorial riter s!ould arri/e at a subBecti/e /ieoint t!roug! obBecti/eresearc!.

Rese'rc(

+riting an editorial or an oinion statement is easy. Hoe/er, riting anoinion t!at ill say ot!ers reuires t!oroug! researc! on t!e editorialsubBect.

Comile as muc! information as ossible before riting t!e editorial.

(ead boo-s, maga>ine and nesaer articles about t!e toic,. inter/ieeole !o -no a lot about t!e toic. 6ou s!ould -no more about t!etoic t!an most readers after your researc! is done. 6ou@ll -no t!e goodarts of t!e oint of /ie and t!e bad arts. 6ou s!ould anticiate !atan oonent to t!e oint of /ie ill say, and address t!ose areas in t!eeditorial.

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Prese"%!"# o&!"!o"

A/oid references li-e * t!in-, e feel, or as * see it ineditorials. 2!ese ords indicate t!e editorial is t!e oinion of oneriter, and t!at its conclusions are not based on researc!. (emember t!eeditorial is ritten to suort command obBecti/es. *t s!ould beanonymous and reflect t!e /ies of t!e command. +!en you e8ress oinion,be sure your logic is correct. Conclusions must be dran from stated

facts. 6our editorial@s effecti/eness deends on your reasoned argument.

4oo- at t!e folloing e8amles

Poor 7I %(!", %('% NCOs s(oud s&e"d more %!e !s%e"!"# %osod!ers '"d %r$!"# %o (e& %(em so*e %(e!r &robems7

Be%%er 7NCOs 're c('r#ed +!%( %',!"# c're o sod!ers O"e +'$ odo!"# %(!s !s or NCOs %o s&e"d %!me !s%e"!"# %o sod!ers'"d (e&!"# %(em !"d sou%!o"s %o %(e!r &robems7

Prese"%!"# ' s!des

*nclude all sides of a toic to ma-e it credible. $ometimes it ill beli-e !a/ing an argument it! yourself. *f you find you lose t!e argument,it@s a good idea to select a different toic. A/oid toics on !ic! you!a/e strong /ies unless you@re sure you can resent a fair, unbiasedaraisal of t!e issue.

A%%r!bu%!"# 'c%s

*dentify e8amles and sources fully. (emember t!at t!e reader may not!a/e t!e same bac-ground you do and may not -no t!e same eole or

references. Hoe/er, too many references may bog don t!e reader.

+!ile t!e editorial is an oinion iece, it must be based on facts.2!ose facts s!ould be easily identified. *f you use facts t!at are notcommon -noledge, be sure to attribute your information.

8AINTAINING SECURIT-1 ACCURAC-1 POLIC- AND PROPRIET-

As it! all Army Bournalism, editorial riting must conform it! t!erinciles of $APP security, accuracy, olicy and roriety.

#7 D*09:


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Secur!%$

'erational security is a must in t!e Army. *n addition to classifiedinformation, t!e editorial riter must be on t!e loo-out for sensiti/einformation. *n an editorial you may ro/ide information to otentialenemies it!out reali>ing it, 2!in- security, esecially !en you arerite about unit strengt!s and caabilities or about lans for e8ercisesand oerations.

Accur'c$

Accuracy is a must in all Bournalistic riting. For t!e editorial riterto maintain credibility, !e must ensure t!e facts on !ic! t!e editorialis based are correct.

Po!c$

&asic ublic affairs olicy is selled out in Army (egulations #=0;,Public *nformation, and in #=01, Command *nformation Program. *n

addition, editorial riters must be aare of t!e Army@s olicy to rotectt!e ri/acy of indi/iduals.

Pro&r!e%$

Proriety is doing !at is rig!t or roer. As an editorial riter it isyour resonsibility to ensure t!at t!e editorial is in good taste anddoesn@t /iolate t!e sensiti/ities of your readers.

THINGS TO A/OID IN EDITORIALS

2!ere are se/eral elements t!at you s!ould a/oid in editorials

o /ulgarity

o obscenity

o ledness

o gore

o er/ersion

o e8cessi/e /iolence

o information !ic! !olds t!e ser/ice or its members u to ridicule

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CO88ENTARIES

Commentaries usually are a recurring ortion of t!e editorial age rittenby one riter, !o ta-es readers on a /erbal tri to get readers to t!in-and be aare of t!eir surroundings and ot!er eole.

2!e commentary is informati/e and tries to influence. *t offersinsig!tful, colorful and sometimes !umorous entertainment. +ell ritten,

t!ey can often ma-e an editorial oint uic-er and more effecti/ely t!an adry, somber iece on t!e same subBect.

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2 F 1. *t@s o-ay to rite an editorial on subBects t!at discredit t!eArmy or your ost, ro/ided t!e ci/ilian ress ublici>es t!ematter.

2 F 9. *nformati/e editorials use argument to say readers to a ointof /ie.

2 F #. 2!e editorial riter s!ould arri/e at a subBecti/e /ieointt!roug! obBecti/e researc!.

2 F :. +!en you e8ress oinions in an editorial, you can /oice youron oinion it! !rases suc! as e feel.

2 F ;. *n addition to conforming to Army olicy, editorial riters mustalso be aare of t!e Army@s efforts to rotect t!e ri/acy ofindi/iduals.

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LESSON SI

EDITORIAL CONSTRUCTION

:=? $oldier@s Manual 2as- 91:17=9:99

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*n t!is lesson you ill learn about t!e four arts of an editorial, t!edifferent aroac!es to editorial titles and t!e t!ree tyes ofconclusions most commonly used in editorial riting.

2E(M*3A4 4EA(3*3G '&5EC2*)E

AC2*'3 (ecogni>e t!e four arts of an editorial, understand t!e/arious aroac!es to de/eloing editorial titles andidentify t!e t!ree most commonly used tyes of editorials.




$2P :=:=?1:$M2G, 5ournalistD*3F'$ 5ournalism Handboo-

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EDITORIAL CONSTRUCTION

INTRODUCTION

Editorials !a/e four arts

o title

o lead

o body

o conclusion

2!e title and lead must grab t!e reader@s attention and !old it longenoug! to get !im into t!e body, !ic! is t!e real meat of t!e article.2!e conclusion !els direct action or summari>e t!e argument or oint of/ie.

TITLE

2!e title ser/es as t!e !eadline for your editorial. 2!e title s!ouldattract reader attention. *t can also indicate t!e subBect of t!eeditorial. 2!e title can be constructed in normal subBect/erbobBectform li-e ot!er !eadlines, but unli-e nes !eadlines it may also be inlabel form it!out a /erb.

$ome editorial titles do not indicate t!e subBect, but tease t!e readerinto reading t!e editorial to learn more about it. For e8amle, aneditorial about /enereal disease may !a/e a title, Ho did it all start'r an editorial about acronyms mig!t !a/e a title li-e, FD( started itall.

2!e folloing list gi/es you a start in de/eloing a /ariety of aroac!esto editorial titles

o 4abel or descriti/e a simle !rase title gi/ing t!e subBect of anarticle. 2!ese titles may not generate muc! reader interest unlesst!e subBect itself is interesting or ro/ocati/e.

o $tri-ing statement a brief !rase or sentence designed to ro/o-ereader interest suc! as $mo-ing can -ill you, e/en if you don@tsmo-eJ

o ?uote a s!ort, notable uotation, ta-en directly from t!e te8t.2!ese usually center on t!e main oint of t!e article. For e8amle,* !a/e a dream.

o Parody or literary allusion a ta-e off on some literary or-,uote, mo/ie or ell-non saying. 5ust ma-e sure t!e

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maBority of readers ill easily recogni>e t!e reference, suc! as,Gi/e me liberty or gi/e me breat!.

o Alliteration a !rase or sentence it! ords reeating t!e initialsound. EIAMP4E et and ild

o ?uestion a de/ice used to arouse t!e reader@s curiosity or interestit! an imortant issue or lig!t tisting of a common !rase. &e

careful !en using a uestion title not to use a uestion t!at can beansered it! a simle yes or no, or * don@t care.

o Direct address tal-s directly to t!e reader, is usually a commandor reuest.

LEAD

2!e lead indicates !at is to come in t!e body of t!e editorial. 2!eeditorial lead is not limited to one sentence. *t may consist of moret!an one aragra!. %nli-e t!e nes lead, t!e editorial lead does not!a/e to summari>e t!e article, or include t!e imortant +@s and t!e H.2!e tone of an editorial is set by t!e lead. 6ou can build leads foreditorials around any of t!e title tyes t!at !el e8lain or introduceyour oint of /ie. 2!e lead s!ould entice t!e readers muc! li-e featureleads do. 4eads are usually ritten after t!e outline for t!e body of t!estory is de/eloed. &y -noing !o t!e editorial ill be structured, youcan design a lead t!at more effecti/ely grabs or ulls t!e reader intot!e body.

BOD-

2!e body is t!e meat of t!e editorial. *t contains t!e suort for your

osition. 2!e reasons t!e reader s!ould agree it! t!e editorial arecontained in t!e body. 2!e body of an editorial reresents t!e largestamount of information. %nli-e straig!t nes riting imortant factsfirst and significant details in descending order editorial ritingoffers t!e essence of t!e article in t!e body.

6our first ste in de/eloing t!e body is listing t!e main oints t!eeditorial ill co/er. From t!ese oints you can often de/elo an outlinefor t!e body. 2!is outline guides you t!roug! t!e body and !els you inorgani>ing t!e lead and conclusion of t!e editorial.

+!ate/er met!od or urose you use,. t!e title, lead, body and conclusion

must flo from one to t!e ot!er in logical order, it! a definite urose.Don@t tric- t!e reader by starting it! a Bo-e and ending it! a seriouscall to action. Don@t ose a roblem it!out offering some -ind ofsolution. Don@t attemt to c!ange a reader@s oint of /ie or to gain

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accetance of an idea or olicy it! oorly researc!ed, !a!a>ardlyorgani>ed material.

CONCLUSION

*n an editorial ritten to ersuade, t!e conclusion ras u and calls foraction. *n an editorial ritten to inform, t!e conclusion ill ut allt!e data into ersecti/e and tie bac- to t!e main t!eme or issue. 2!e

entertainment editorial@s conclusion mig!t offer a !umorous or insig!tfulasect sa/ed Bust for t!at urose.

2!e t!ree conclusions most commonly used in editorials are

o Call for action As- t!e reader to do somet!ing or not to dosomet!ing. Don@t confuse t!is tye of conclusion it! ma-ing demandsby using e8ressions li-e *n our oinion.... or As e see it ....or +e demand t!at.... A/oid t!e imerati/e /oice. Don@t gi/eorders.

o $ummary $ummari>e your main oints. 6ou !a/e a oint to ma-e, soma-e it simle and clear.

o ?uotable 4ea/e t!e reader it! a brief, aroriate, uotablestatement. %se uotes to suort a osition or for rebuttal.

2!e editorial conclusion can be any combination of t!e t!ree tyes. 6ouill learn from e8erience !o to matc! a conclusion it! different tyesof editorials.

ADDITIONAL GUIDELINES

't!er tis to -ee in mind !en riting editorials

Don@t embarrass your commander. Contro/ersy may be aroriate in youreditorial, but t!e conclusion s!ould reflect command olicy. E8lain !atis being done about a roblem. Also, don@t ta-e on Congress, go/ernmentalagencies or t!e local community.

A/oid references li-e * t!in-, or +e feel or As * see it ineditorials. (emember editorials are anonymous and reflect t!e /ies oft!e command.

*nclude all sides of a toic to ma-e it credible. $ometimes it ill be

li-e !a/ing an argument it! yourself. *f you find you lose t!e argument,!oe/er, it@s a good idea to select a different toic. A/oid subBects on!ic! you !a/e strong emotional /ies unless you@re sure you can resenta fair, unbiased araisal of t!e issue.

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2a-e a no/el aroac! to commonlace subBects. 2oics suc! as safety, t!eCombined Federal Camaign and drug abuse reuire inno/ati/e, descriti/e,actionac-ed riting to entice and con/ince t!e reader. (e/ersesyc!ology may or- in some cases.

A/oid editorial toics t!at are too olitical or unsuitable for yourcommand le/el. (emember t!at your ost commander does not set nationaldefense olicy. 6ou cannot say editorially t!at a gi/en deloyment or

military action is good or bad.

Ma-e sure e/eryt!ing is clear to readers seeing t!e editorial for t!efirst time. Can t!ey easily figure out your meanings

*dentify e8amles and sources fully. (emember t!at t!e reader may not!a/e t!e same bac-ground you do and may not -no t!e same ersons orreferences. Hoe/er, e8cessi/e references ill bog don t!e reader.

Ma-e sure your logic is correct and direct. 6our editorial@seffecti/eness deends on your clear, reasoned argument.

A/oid reac!ing or demanding t!at readers do somet!ing. Don@ t say,

$oldiers ill... or $oldiers s!ould.. .

Profanity is not alloed in military nesaers.

(educe statistics to con/ersational e8amles. *nstead of Bust saying;:,1#; suare miles, also say about t!e si>e of *llinois.


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2 F 1. 2!e lead ser/es as t!e !eadline of your editorial.

2 F 9. Editorial titles must indicate t!e subBect.

2 F #. Alliteration is a brief !rase or sentence designed to ro/o-ereader interest.

2 F :. 2!e body is t!e meat of t!e editorial.

2 F ;. 2!e intent of t!e conclusion of an editorial ritten to ersuadeis a call for action.

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F'(+A(D 2' APPE3D*CE$

2!e folloing stories !a/e been reroduced as aendices to illustrate t!eeffecti/e use of t!e -ey elements of feature stories and editorials.

Aendi8 A, 7A!r Force e"#!"eers !re e'%(ered odder us!"# "e+ ;roos%er boos%er; #u" %o %es% >e% '!rcr'% +!"ds(!eds7 uses t!e standard featurestory format. *t as ritten by 5oan Carter, a former D*3F'$ student.

Aendi8 &, 78!dred does";% dr!", (ere '"$more1 a feature detailing t!estruggles of a reco/ered alco!olic, as ritten by Army Cat. 5o!n H.Colt.

Aendi8 C includes to editorials, 78!s%',es 're or e'r"!"#17 and 7-ou &'$ or *'"d'!sm7

Aendi8 D contains anot!er editorial !ic! is informati/e and addresses amedical roblem common among blac- men seudofolliculitis, or ingronbeard. 2!is editorial comes from t!e American Forces Press $er/ice, a

branc! of t!e American Forces *nformation $er/ice.

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AIPD Subcourse DI0240 Edition A: Feature Writing and Editorials

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