The Basic Characteristics of Aftermath Follow-up and Depth Serial Article

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Ameyu Etana (2014). The Basic Characteristics Of Aftermaths, Follow-Ups And Depth

serial Feature Stories. Addis Ababa University, Ethiopia. Available at:

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THE BASIC CHARACTERISTICS OF

AFTERMATHS, FOLLOW-UPS AND DEPTH

SERIAL FEATURE STORIES

Ameyu Etana

Graduate student of school of Journalism and

Communication, Addis Ababa University

© Ameyu Etana, July, 2014 Addis Ababa University, Ethiopia

Email: [email protected]

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Table of Contents

Titles pages

1. Introduction …………………………………………………………….………………..3

2. What feature is? Scholars‘ definition. ……………………………………………………4

3. A tip short history of feature writing ……………………………………………………..4

4. Aftermaths, Follow-up and Depth serial articles with its detail interpretation

…………………………………………………………………………………………….5

4.1. Aftermaths ……………………………………………………………………...…6

4.2. Follow-up…………………………………………………………………….......10

4.3. Depth serial ………………………………………………………………………14

5. Similarities between Aftermaths, follow up and in depth serial feature……………..17

6. The little difference between Aftermaths, follow up and in depth serial feature

…………………………………………………………………………………………...17

7. References/ Bibliography …………………………………………………………….…18


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1. Introduction

In a growing trend of journalism, feature writing also ignited to have used for different purposes.

Mainly, the rise of internet and social media brought big opportunity for individuals to generate

money out of it. Albeit it is information age, there are quite a number of people who lack to

understand the concrete meaning of information at their hand. So that, feature is making equal

significance for those who want the detail of an issue since it much deal with complex issue that

needs clarification by giving human angle. Its way of informing while entertaining is also the

other benefit.

To this end, this paper try to deal with thorough discussion on the basic characteristics of

aftermaths, follow-ups and depth serial in accord with the guide lines provided below, but not,

merely strictly limited to, as it is. The guide lines are:

1. Defining the term from different angles

2. Elements of the feature type/how to give color or human interest angle

3. Principles/special skill or knowledge

4. Dilemmas and controversies (if any)

5. Challenges and strategies

6. Case analyses (optional)


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2. What is feature writing?

Features are written to entertain. The writer lets the actions and comments of the personalities

carry the story. Features usually begin with a delayed lead- an incident or anecdote that

illuminates the point of the feature. The body contains additional incidents, many quotes and the

news peg. The ending may summarize the piece or provide a climax. (Mencher 1997:186)

When we say feature entertain, we mean it involves readers‘ attention. It informs while

entertaining. So, as it takes much time to research and investigate about the subject due in

discussion, its service surpasses of what news may provide.

The more you write a feature so it can be used any time of the year, the greater your chances of

being picked up by broadcast, print and online media. Features are often about how we live, love,

and learn. While the news of the day is of vital importance, many people seek a respite from

grim headlines and need useful information relevant to their home and family. That‘s where a

feature comes in. (PR news wire Guide to writing a feature p.2)

3. A tip short history of feature writing

At first it was distasteful. Some writers used feature writing when they face shortage of news.

Mencher (1997:187) stated feature story was a weapon in the great circulation wars between

Pulitzer and Hearst in New York at the turn of the century. Crime stories, sports, society, news,

science news- all of it embroidered with sensational details often as much invented as factual –

were used to attract readers. This type of feature became synonymous with yellow journalism.

But things are different today. Even, starting form 1970s Pulitzer prizes are underway for best

feature. It is believed this has initiated many writers and institutions to pay attention to this type

of writing either for media or elsewhere concerning writing.

‗‘Nevertheless, the feature thrives today. First, editors discovered that serious journalism doesn‘t

have to be abstract. They discovered the fact known to Greece playwrights 2, 300 years ago –


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events have a human dimension. Indeed, it is the human aspect of the event that makes it worth

communicating.‘‘ (Ibid p. 187)

Yet again, it is the human dimension and the entertain role of the writing that get endured

feature, otherwise, it is difficult to buy the time and attention of the wider public in the time

budgeted world.

‗‘News paper responded to the clear advantage of broadcast journalism in covering the story by

emphasizing reporting in depth.‘‘ (Ibid p. 202)

4. Aftermaths, Follow-up and Depth serial articles

These are the three essential types of articles that are deemed to give depth coverage for issues

under feature. Garrison 1992: 148 articulated these articles (aftermaths, follow-up and in-depth)

although each slightly different from the other, offer explanation and perspective unavailable

when the story first developed. The article use large amounts of description, extensive direct

quotation, background information, and narration to tell audiences more about the story.

These articles render issues of importance that needs additional coverage after negative events

like fires, bad weather, famine, rioting, natural disasters… high level of human suffering, but

also after positive events like significant events that brings joy and pleasure to the community

can be covered under aftermaths, follow-up and in-depth serial articles.

By showing the human angle, those stories become less facts and figures and more ‗‘people-

ized.‘‘ They should also have a local perspective. (Ibid p. 148)

The basic characteristic of those articles will be discussed below.

1. Aftermaths

2. Follow-up

3. In-depth feature story


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4.1 Aftermath Feature Stories

4.1.1 Aftermath Feature Stories Defined

Aftermath feature stories are stories written often following a major disastrous news event such

as flood, earth-quack or land slide, a sudden collapse of building, plane crash or car accident

causing a great deal of human and property damage. These types of feature stories appear in

news papers in the days immediately after the occurrence of the event.

Reporters stay with these stories. Knowing the public‘s interest in these events, the men and

women covering them keep readers, listeners and viewers informed. (Mencher 1997:5)

Their name ‗aftermath‘ refers to the result of the news event, which is most of the time, in fact

unpleasant one. News papers and magazines rush to tell their readers about the news event in the

first days afterward by assigning journalists to write aftermath feature articles. This tendency of

the media signifies the importance of the news story. According to feature writer Daniel

Williamson ,quoted in Garrison B., aftermath stories are features that give new perspective ―to a

disaster, tragedy profound news event that captures the impact and dimensions of the event by

humanizing its effect‖(P.248).

4.1.2 Elements/Features of Aftermath Stories

Aftermath articles tend to contain more of a people approach than the traditional news follow up.

And although these articles often focus on disasters and tragedies, they may also focus on other

actions, decisions, and developments in the community. When a river overflows in unusual

spring flood, how does it affect those involved? Readers want to know the basic facts. Such as

death, injuries, daring rescues, and damage amounts, but they also want to know the human

element-the reaction to all this. How do people endure? What are their feelings? Thoughts?

Emotions manifest themselves in many ways.

An effective writer will try to capture those displays of emotion to truly tell the story in the

article. In doing so he/she can tell readers in a compelling way, how the event changes the lives


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of victims during, the day after or probably, forever. It is because the story has many personal

observations and feelings from the writer instead of the usual variety of non personal sources.

The writer may also go to the neighborhoods where the accident happened and talk to many

people and his generalizations about the people‘s reaction to the accident may capture the mood

and portray the plight of the victims. In this regard, there could be no one named, no heroes

except the community itself and there could be no one directly quoted. Although this approach of

the writer seems very personal, it enables him achieve what an aftermath story seeks to do in

creating a great appeal in the readers‘ side.

Daniel Williamson says the aftermath articles about events such as floods and building collapses

use one or more of the following four different approaches:

1) The epitome of the victim or the victims-this strategy focuses on the one person or group

of people who have endured the disaster, such as a plane crash. This may be one real

victim for the focus of the article, like a child who becomes trapped in a well and must be

rescued before death. We may try to focus on those individuals by finding the survivors,

who became our key sources. If none are accessible. Then friends or relatives may assist

in telling the story to readers.

2) The mood piece - This approach employs many of the techniques of color articles and is

dependent on description by those on the scene. These articles are often rich in detail and

help those who were not present to gain insight into the atmosphere of the site, using

witnesses, survivors, photographs and other means of recreating what happened.

3) The Hero-in some assignments of the aftermath feature articles type, the best way to tell

the story is to focus on the individual who saved the day. There will be times when this

person is accessible and quotable. It creates a much-desired angle for the article because

most people love to read about a hero.


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4) The Goat- occasionally, someone, or some organizations, unfortunately cause a tragedy,

such as a drunken driver of a truck who caused a bus accident taking the lives of many

school children. The story becomes a strong angle if we can tell the story from that

person or institution‘s point of view, because most people or organizations are

unfortunately reluctant to talk to a reporter of they have caused a death or large amount of

property loss, this is a difficult angle to pursue.

Regardless, if it can be told this way, it is a compelling story because it is a human story, one of

accidental or intentional human error. We may not have a choice about which angle to choose in

handling our assignment. Much of time, the course or event will determine how we handle the

story. But on some stories, we may have the choice of one or two or three approaches.

4.1.3 How to write aftermath feature articles

We have a number of decisions to make in the course of writing an aftermath feature story. We

must develop a lead for our story, decide story structure locate appropriate sources, select writing

style and decide the mood of the story.

1. Aftermath story head-the lead is one of the most crucial parts of our aftermath

feature story. In the lead we set the stage for the entire peace of our story. And our

decision about how we plan to tell the story to readers is revealed here. After math

leads can be anecdotal, focusing on an individual or an example of the major

point of the article. This approach makes specific points to illustrate the larger

problem-the suffering of one victim can show what entire group of survivors has

experienced and how they feel.

2. Structural plan-think through what you are trying to achieve with the aftermath

article before we begin to write. How will we recognize it? What are the major

sections? What are the major points? In what order?


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3. Source-At the same time you think through the organizational plan, consider what

sources are necessary for information to make our major points. Will it be

victims? Their families? Official sources such as police and firefighters? Other

people? Reporters? Observations?

4. Writing style and mood - your chosen style and mood for the particular article

should reflect the type of event you are covering. In other words, for an article

that describes the joy of a small town several days after it has won a state high

school basketball championship, an informal, casual, and upbeat style might be

appropriate. But for a natural disaster, such as a tornado striking that same small

town, the style should be more serious and respectful.

4.1.4 Some Points of Concern in Aftermath Stories Writing

Williamson (1975) offers four more considerations for writing aftermath articles.

Your approach, he says, should stir the imagination of readers by going beyond

the basic facts of the event that are found elsewhere, such as other articles in the

same issue or earlier issues. Here‘s what he suggests to strengthen your writing:

1.Play heavily on human emotion-Use descriptions of sorrow, fear,

happiness, and other emotions to enhance your article. This comes through

direct quotations and observation of what happened and its effects on people

and places. Can you accurately convey what happened and its effects on

people and places? Can you accurately convey what people experienced?

Exercise your vocabulary for this-accurate word choice will make all the

difference.

2. Try to help the reader identify with the victims-will readers think that it

might have happened to them? If so, you have probably succeeded in helping


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them identify with victims. Writing with detail will permit this to happen in

most articles. Be alert, and observe to recapture the situation.

3.Write tersely and briefly-a tightly written article will still get to the point

and will permit more perspective to get to the reader in the same amount of

space your editor has assigned to the article.

4.Concentrate on a fast moving strong lead-good leads set the tone for the

article. For aftermath articles, you must write a lead that gets the reader

involved and still explains the purpose of the article.

4.1.5 Best sources for Aftermath and follow up articles

# Participants, victims.

# Friends and relatives of participants, victims.

# Neighbors.

# Witnesses.

# First persons to arrive on the scene afterward.

# Spokespersons from investigating federal, state, and local agencies.

# Public records and reports as they become available.

# Private sources of information released to the public.

# World Wide Web sites devoted to the event or emergency and related subjects

4.2 Follow-up feature articles

4.2.1 What Are Follow-up Stories?

Follow-up stories are articles that reporters write in the days and weeks following a major news

event. Such stories may focus on certain aspects of the event, or simply update readers on the

latest developments surrounding the even Maucker (1993).


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Reporters don‘t do follow-ups for every event they cover, but follow-ups are often necessary.

That‘s because many of the events reporters cover unfold over a period of days, weeks or even

months, or have implications and consequences that can‘t be adequately covered in a single story

(Ibid).

Follow-up feature articles are written after a period of time has passed, such as a few months, a

year, or even several years. Follow-up stories often offer new information to shed new light on

known events or revisit events to reinterpret them. These stories have a more evaluative,

analytical, or interpretive purpose through use of experts, witnesses, and others involved in the

story in some manner (Ibid).

4.2 2 Principles of writing follow-up feature articles

The follow-up feature approach is often an appropriate alternative for stories of this type because

after a time, readers need background information as well as the new information to remind them

of events surrounding the original story ( Bruce Garrison p:258).

These types of feature stories, with their new information combined with the already-known

information, help readers. Earl Maucker, editor and vice president of the Fort Lauderdale-based

South Florida Sun–Sentinel (1993), said that his newspaper‘s research shows that readers want

relevance and ability to understand the events of the day from their newspaper‘s follow-up on

major stories. ―They want to understand their world,‖ he said. ―They want follow-ups on stories.

They want those follow-ups to be balanced and fair, to list information, to explain and describe

trends, to provide analysis, and to show them, not tell them.‖

Follow-up feature stories, if they are written well, can help readers to understand why something

has occurred and to share the reactions other people have to the event. They are, as Maucker

explained, essential supplements to coverage of events by newspapers, magazines, newsletters,

and online publications.


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4.2.3 Approaches to writing follow-up feature articles

Developing Ideas: Causes and Consequences

Follow-up stories start with ideas. Obviously, the trick is to come up with those ideas. One way

to do this is to observe and then investigate.

Another way to develop follow-up story ideas is to think about the causes and consequences of

the story you‘re following.

It‘s often an appropriate alternative for stories of this type because, after a time, readers need

background information as well as the new information to remind them of events surrounding the

original story.

It also used by some magazines and other specialized publications to cover a major story. With

their once –a-week publication schedule, editors and writers at the major news magazines are

forced to find new angles in writing featurized follow-up articles that also serve as around-ups on

event.

It deals with a more evaluative, analytical, or interpretative purpose through use of experts,

witnesses, and of others involved in the story in some manner.(www.org.approahes)

4.2.4 The value of aftermath and follow-up features

Mike Foley, journalism professor at the University of Florida and former vice president and

executive editor of the St. Petersburg Times, believes in the value of aftermath and follow-up

features. Foley (personal communication, October 10, 2002) offered this advice:

The feature story after the big disaster, the crucial vote, the key game or that triple-axe murder is

not only real journalism, but it‘s your time to shine. You‘ll have the time, space and, probably, a

lot of freedom to decide how best to handle the story.


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How often do you get an opportunity like that in this business? But it‘s also a challenge. Your

usual excuses—or, rather, reasons—for a less than-stirring account won‘t work. The deadline is

farther off than a few hours or minutes. You can talk to more people. You can get the details.

You will be able to sort out the confusion. Then, you can sit down and—can you believe it? So,

you‘ve got challenge, you‘ve got opportunity. Can the possibility of massive, career-ending

failure be far behind? Of course not. So, before you blow it, you might consider a few

suggestions:

Relax. Take a few deep breaths, a blank piece of paper, a pen or pencil, and figure out what you

need to do. This preparation should include reading stuff already written on the topic, and

planning other research, including public records, historical documents, books and outside

experts. (You‘ll find later that background information is almost as important as the new

reporting you‘ll do.)

Talk to your editor. He or she has either assigned this story, or, at least, has permitted you to

pursue it. Only an expert (or a fool) would work on a story without talking it over first with the

boss.

Time and space you’ll have. You also should, at this point and throughout the gathering and

writing stages, think of other material that will enhance the story—photos, maps, charts,

illustrations. Your editor will thank you for any suggestions. Editors like to look good, too.

Think about what you want to do. Sound redundant? Maybe it is. But many writers, especially

young and beginning ones, forget to set goals. They‘re after a ‗story,‘ without thinking

about what the story might be. Sure, the story will change many times as you gather

information. But it helps to start with some idea of where you could be going.

Don’t forget the little things. The follow stories are the detail stories. What‘s the dog‘s name?

What did the family eat for dinner? What was the dead guy wearing?

Conduct a sensual survey. What music was playing? What scent was in the air?


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What was everyone drinking? Was it hot? You get the picture. Really, this way you really get the

picture.

Feel it. Attention, all you aloof, neutral observers: It‘s time to get real. If you want to write a

good story (even gather enough material to fashion a good story), you have to let loose, be a

human. Don‘t take sides or get involved, but use your own emotions to try better to understand

what the human in your story might have felt.

Tell me a story. Sure it‘s journalism, but let‘s not forgets what a ‗story‘ is. It‘s a narrative, with

a beginning, middle, and end. Reread your research, study your notes, shut your notebook (and

maybe your eyes for a minute) and tell me a story. Step back and tell it whole.

4.3 In-depth feature story

4.3.1 Defining the term from different angles

Is a type of feature that shares most with aftermath and follow up feature articles but, it is the

most serialized and long article that aimed to entertain thorough coverage on specific issue.

Bruce Garrison (2004: 247- 48) stated:

Depth series feature articles are a collection of articles that take a subject into greater

depth and scope than a single story could achieve for a publication. In addition to being

published in parts, as the nature of a series would require, the depth series is more

highly organized and offers a broader perspective through use of human and written

sources of information. Depth feature articles in a series incorporate many of the

characteristics of aftermath and follow-up stories, of course.

Albeit not significant difference from what Garrison put, Mencher describes serial article as it is

written for topics that needs thorough discussion.


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‗‘ Series are written when the subject is too complex for the long story format. Each article has a

major theme; sidebars may be used to develop sub-themes (Mencher 1997:86).‘‘

Or

‗‘Some subjects are too broad, too deep, too complex for even the long story. Faced with such a

problem, the reporter finds that the series of articles is the way out. (Ibid 1997:209)

Garrison in his 2004 edition also depicted the same thing:

There are times when routine feature coverage, whether it be an aftermath, fol-low-up, or other

type of feature article, just cannot do the job in a single article. Even longer magazine articles

might not be adequate for certain subjects. Major topics, such as a presidential election campaign

or a public health issue, often demand more than a single article can accomplish. (Garrison

2004:270)

Depth serial is the most serialized and long article that aimed to entertain thorough coverage on

specific issue. It requires a lot of time and a lot of news space focusing on important subjects. As

stated above it shares the many characteristics of feature mainly aftermath and follow-up, and

remain relevant for months or years after publication. The hallmark of depth serial is its ability to

be divided to comprehensible and satisfying segments.

4.3.2 Elements of feature type/how to give color or human interest angle:

From the onset as depth serial article is supposed to divide a story to different parts, there should

be great attention given to human angle, otherwise, this type of feature is nothing. Involving

people is essential, if not, not buying attention and time of readers; instead, the newspaper or

magazine would lose the readership it develops.

In-depth serial like that of aftermaths and follow-ups‘ is full of quotes, which depicts as it

involves much of human. People want to read about people. As the central concept of feature is

humanistic approach, there are elements on how to give human interest angle to in-depth serial.


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From the very beginning, the issue under discussion matters. If it is not for people, all that comes

before will be dull or valueless. Feature stories tell a story through people, engaging us through

what some call human-interest stories.

The more they involve human the more the detail will be, and the more the clarification and

credibility would be, which is an asset for media institutions.

4.3.3 Principles of Writing:

As it is divided, it should be highly organized and neatly or cleanly divided into parts of equal

significance. Each part should be written to stand alone: it should be self explanatory and strong

enough to be useful to anyone who missed some part of the serious. The pieces/parts should be

presented logically and linked together with transitions.

‗‘The lead must catch the attention of the reader. The hall mark of the newspaper feature serial

lies in the ability to be divided into comprehensible and satisfying segments which culminate

into a showcase piece.‘‘ (NOUN 2008: 50)

Feature serious accompanied by editors note, side-bar notes, other short editorial devices to

explain readers the purpose and role of the story.

A sidebar could be at the instance of a writer but usually, editors assign writers to get

―something‖. A sidebar is a story that accompanies a main story. It could be statistics linked with

a story but they are usually ‘colour‘ stories. (NOUN 2008: 40)

4.3.4 Challenges and strategies:

A complex part of the serial feature is that each installment is expected to be read as a one-shot

i.e. complete story where each one is independent.

Mencher (1997:204) stated the major difficulty writers have with the long story is controlling its

several major points, the half-dozen building blocks that must be arranged in logical and

interesting order. It is not easy.


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The challenge to the feature serial writer is in handling the technicalities of structuring a well-

written story that is interesting and compact. … The newspaper serializes stories into parts that

are easily understood by readers. (NOUN 2008:52)

The following system is useful to organize the long article as put by Mencher 1997: 205;

1. Identify all themes. Summarize in a sentence or two.

2. Place each summarized theme on a separate index card. Put the cards in the order that the

themes will follow in the story.

3. Cut up notes by theme and place them next to theme cards. Reread and again arrange

cards and notes in the order in which they will be written.

4. Look through the cards for the major theme that will serve as the read or the integrating

idea for the article. Write it on another card.

What topics dictate us to favor in depth article? Here clues as stated in Garrison 2004: 260:

• Magnitude of the issue: shall have an impact on many individuals e.g. policy issues like

tax , Master plan, lease

• Seriousness of the problem: serious nature of the subject e.g. water contamination

• Immediacy of the event/issue: by writing the current of the issue serve public thirst for

information. By humanizing the problem it let the public feel how this affects me. e.g.

Al-Shabab, Aids

• Broad scope of the story: a depth feature evolves when the subject is broad and needs

the depth coverage of sub-topics to make sense to readers. E.g. African economy

5. Similarities between Aftermaths, follow up and in depth serial feature

These three types of feature articles, although each a little different from the other, offer

explanation and perspective that were not available when the story first developed.


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The articles use large amounts of description, extensive direct quotation from interviewing, and

narration to tell readers more about the events that are the cause for the story to be

written. Accidents, fires, bad weather, natural disasters, famine, rioting, war, and other

events that cause high levels of human suffering usually demand additional coverage in the

form of aftermath, follow-up, or depth series feature articles. On the other hand, positive events

or significant changes that bring happiness and joy to a community are also the occasion for

aftermath, follow-up, and depth series features.(Garrison 1992: 148)

6.The difference between Aftermaths, follow up and in depth serial feature

The main difference between aftermaths, follow-up and in-depth serial is time and magnitude

through which they cover issues.

Typically, aftermath articles appear on the 2nd, 3rd, or 4th days after an event. Follow-up

features begin to be written in the weeks, months, or annual anniversaries after the event. It is

also not unusual to use such follow-up stories years afterward. Some editors use these articles 1

year, 2 years, or more after an event as anniversary features. (Garrison 2004: 250)


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References/Bibliography

Garrison, Bruce (1992) Advanced Reporting: Skills for the professionals. Lawrence Erlbaum

Erlbaum Associates, University of Miami, USA

Garrison, Bruce (1994) Professional Feature writing. 2nd

edition. USA. Lawrence Erlbaum

Associates. Inc.

Garrison, Bruce (2004) Professional Feature Writing. 4th

edition. USA. Lawrence Erlbaum

Associates. Inc.

Hennessy, Brendan (2006) Writing Feature Articles. 4th

edition. Elsevier, oxford, UK.

Mencher, Melvin (1997) News Reporting and Writing. 7th

edition. The McGraw-Hill

Companies, Columbia University, USA

NOUN (2008) National Open University of Nigeria; School of Arts and Social Sciences,

Feature Writing. National open university of Nigeria, Lagos, Nigeria.

Witt, Leonard (1991) The complete Book of Feature Writing. Writer‘s digest books, USA

Available at: http://pjnet.org/wp-content/uploads/2008/02/featurewriting.pdf

----- (nd) The PR News Wire Guide to Writing a Feature Available at :

http://toolkit.prnewswire.com/nonprofit/pdf/feature_guide.pdf

http://www.journalistsresource.org/syllabi/syllabus-feature-writing/

http://www.org.approaches.com

http://www.washingtonmonthly.com

http://blundellfeaturessac.blogspot.com/


http://pjnet.org/wp-content/uploads/2008/02/featurewriting.pdf

http://toolkit.prnewswire.com/nonprofit/pdf/feature_guide.pdf

http://www.journalistsresource.org/syllabi/syllabus-feature-writing/

http://www.org.approaches.com/

http://www.washingtonmonthly.com/

http://blundellfeaturessac.blogspot.com/

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