At its most literary level, feature writing produces the essay, a form not to be treated lightly. British and American literature is sprinkled with the names of those who have practised it brilliantly-again, usually writers who did not excel at other techniques. A typical living example is J. B. Priestley, better as an essayist; it seems to me, than as a novelist or dramatist. An essayist is, in effect, a writer who can take up an idea-any idea kick it around, forget it, pick up its scent again, lose it, concluding by at the most a farewell gesture to the original idea. Or he may, of course, confine himself more strictly to one subject. The progress is like desultory conversation, improvised music with variations on a theme, our attention being held by sheer delight in the sound, the virtuosity of the performer, his capacity to hold us with his brilliant use of words or ideas, the profundity of his wisdom. Note, again, the need for appropriate mood, wit and insight-in its widest sense.
journalism
May 10, 2009
There is no reason why you should not start with some item of local and perhaps, eventually, wider interest. Study the requirements of the local press, see how long the contributions are. Often the editor is on the look-out for articles of local topical, social and historic interest. Much, in this genre, depends on mood. If you can be witty, buoyant and engaging, whatever the subject, readers anywhere are going to like it. The technique of the feature or ‘article’ writer varies considerably from that of the reporter. While your first line is as important as ever, you do not have to stun your reader with it. This kind of writing also gives scope to those whose capacity to plot, create character, dramatise, narrate is limited. Again, study the leading exponents.
