-Literary-Journalism in the field of CNF

This is about literary journalism in the world of Creative Non fiction along with its characteristics and Elements

1. LITERARY
JOURNALISM

2. LITERARY JOURNALISM

3. LITERARY JOURNALISM
narrative journalism,
new journalism
immersion journalism,

4. LITERARY JOURNALISM

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10. FEATURE STORY

11. FEATURE STORY

12. FEATURE STORY

13. FEATURE STORY

14. FEATURE STORY
•Lede: The lede is how the feature story begins. In a hard
news story, the first paragraph tells the reader the who, what,
when, where, and why; however, a feature story may begin
with several paragraphs that use anecdotes or descriptions
to lead up to and introduce the story.

15. FEATURE STORY
•Pace of the story: The pace of a feature story is typically
more leisurely than a hard news story, because the writer is
trying to tell a story.
•Length: Because the writer is focused more on storytelling,
they take their time to make sure the story is complete,
which means the length of a feature story may be longer
than a hard news story.

16. FEATURE STORY
•Focus on the human element: The focus of a feature story is
on the human element. Feature stories are often called
people stories, because they focus on the people in the
event, whereas hard news stories focus more on a specific
event.

17. REPORTAGE
Derived from
the Latin
reportare
which means to
report to announce
news
reportage
is the French
word for
reporting

18. REPORTAGE
REPORTAGE is also known as
eyewitness account, in-depth
reporting, interpretive reporting,
and investigative reporting
(Chevalier 1997).

19. REPORTAGE
The genre of literary reportage is situated between
journalism and literature.
It has in common with journalism its relation to
actuality. Reportage refers to cultural and social
reality, past developments, and current affairs.

20. REPORTAGE
Reportage highlights the keen involvement of the eye
in reporting the 'things being seen.'
For the reportage writer, the basic instruction is 'eye
and I report.' This means that the writer should not
only get the facts of the events correctly, but also the
meaning behind those facts.

21. REPORTAGE
As an eyewitness, the writer supplies
1.background information about the event;
2.the human element of the story;
3.extensive explanation to help readers realize
the significance of the events.

22. JOURNALIST REPORTER

23. REPORTAGE
Ryszard Kapuscinski, who is regarded as the
'father' of modern Polish literary reportage, gave
a public lecture about another 'father,'
Herodotus, the Greek historian who wrote History
2,500 years ago.

24. REPORTAGE
Kapuscinski regarded Herodotus as the "father
and the master" of reportage. In his talk,
"Herodotus and the Art of Noticing," Kapuscinski
traces the origin of reportage. It remains
applicable to reportage writers.
(see page 127 of the book Creative Nonfiction)

25. PERSONALITY PROFILE
the profile is not a life
story or a biography.
profilare (outline),
The profile is a portrayal of
what is most interesting or
compelling about that
person now.

26. PERSONALITY PROFILE
Interviewing is a fact-gathering method. The writer's basic
instruction is 'make the person talk and reveal a focal
aspect of his or her life.'
As a story, the personality profile should make the readers
care and connect with the subject.

27. PERSONALITY PROFILE
In this short article "The Scoop on Writing Profile Articles:
Anatomy of a Profile," Russell outlines the profile of
personality profile:
•An intriguing beginning-to draw the readers into the story
and puts the reader in the middle of it.

28. PERSONALITY PROFILE
• The body of the profile- provides background
information with details in quotes or words obtained
during the interview.
•Wrapping it up- Just as you begin intriguingly, you also
end in the same way. An easy way to do it is, of course, to
refer back to your thesis-of what makes this person
interesting.