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9 Amazing Literary Journalism Articles

Read part ii here ..

I don’t know if anyone is interested, but I am studying a journalism class at university and at the moment, we are learning about literary journalism.

Literary journalism is a a type of creative non-fiction. It is still an article and presents the facts of a case or the news of the day, but it does so through the utilisation of narrative techniques. The most common type of literary journalism, and arguably the most famous, is investigative features, but others include news features, profiles, backgrounders, human interest pieces, lifestyle features and even travel stories.

I’ve been doing a lot of research into investigative features and they have kept me up all night long, reading. I’ve collected a few fascinating stories for anyone who is interested. These articles don’t just look at the facts, they delve deeper into an underlying, often hidden, story.

Dee Dee Wanted Her Daughter To Be Sick, Gypsy Wanted Her Mom To Be Murdered by Michelle Dean for Buzzfeed

Despite the juvenile title of the piece, this article made waves when it was published last year and had people taking Buzzfeed a little more seriously that the website is used to. It explores what just might be the longest recorded case of Munchhausen by proxy and the degree someone would go to in order to escape child abuse. The article is gripping and terribly sad, but also one of the best pieces of literary journalism I have ever read.

Read it here .

A Murder Untold: Unravelling the ultimate political conspiracy by David Grann for The New Yorker

This article is simply insane and is focused on the most intricate political conspiracy of the past decade. In 2009, Rodrigo Rosenberg Marzano, a Guatemalan attorney, was murdered and, before his death, recorded a video saying that if he were murdered, the President of Guatemala and several other high profile people would be responsible. You think the JFK murder was a crazy conspiracy? Once you read this article, you’ll be rethinking that.

Ghost Boat by Eric Reidy for Medium

This is an open investigation about the mysterious disappearance of 243 refugees in the Mediterranean ocean. The article is written in ten parts with no definitive answer. It’s incredibly heartbreaking, but an amazing piece of journalism as so many people – experts, students, amateurs – came together to find answers.It also shows that, when it comes to refugees, people just don’t care and seem to value one life over another.

Trial by Twitter by Holly Millea for Elle

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Reading this article broke my heart and made me want to wake up my ten-year-old brother and make him promise not to ever sneak out of the house late at night. With examples of the Twitter accounts of three 16-year-old best friends, what is revealed is the disappearance and murder of a young girl at the hands of her two best friends. Chilling and unforgettable. You’ll be looking at your friends in a different way after reading this.

Framed: She Was The PTA Mom Everyone Knew. Who Would Want to Harm Her? by Christopher Goffard for L.A. Times

This article is insane, top to bottom. It centres on the apparent framing of a PTA mother. The police discovered enough drugs in her car to send her to prison for years, but the cop who questioned her believed her story. Who would want to frame a beloved PTA mother who never hurt anyone? What follows is a strange yet highly entertaining tale of revenge and the lengths people will go to for a perceived threat.

‘I’m No Longer Afraid’: 35 Women Tell Their Stories About Being Assaulted by Bill Cosby, and the Culture That Wouldn’t Listen by Noreen Malone for The New Yorker

This article is breathtaking in Malone’s sensitive reporting. Reading the pain these women went through is only part of the story – it is also about how our society refused to believe them and allowed such a thing to happen in the first place. Painful, poignant and mind-blowing.

Whatsoever Things Are True by Matthew Shaer for Atavist

This articles follow the incredible story about two men who were separately convicted then exonerated for a double murder in 1982, but years apart. The story has many twists and turns and Shaer investigated the case for almost an entire year. Such a strange story, presented cleverly.

Troll Detective: Who Set Jessica Chambers on Fire? The internet is trying to find out by Katie Baker for Buzzfeed

Such a sad story about a young woman who was murdered by being set on fire in her car. At the time this article was written, the police had absolutely no suspects and the internet took to this case in a frenzy. Amateur sleuths and Facebook groups harassed Jessica’s mother, father and friends in an effort to find who murdered this young woman. Compelling and heartbreaking. Another great article from Buzzfeed.

The Price of Nice Nails by Sarah Maslin Nir for The New York Times

The article is about something I have never thought of and, frankly, taken for granted: the employee environment and exploitation of manicurists. They are underpaid and subjected to racial bias. A very interesting piece that will have you questioning yourself the next time you need to fill your nails.

What do you think about these articles? Is there a compelling piece of literary journalism you love and think I should read? Let me know!!

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Narrative News

December 22, 2017, want to read some of the best literary journalism of 2017 we’ve got you covered, a weekly roundup of some favorite things, for your reading and listening pleasure.

Kari Howard

From "Seven Days of Heroin": Terri was arrested on outstanding warrants; she was roused as she slept with her boyfriend under an overpass. Liz Dufour/The Cincinnati Enquirer

Yes, it’s the time of year to look back on the good things that happened this year (and try to forget the bad, if only for a little while). First off: John McPhee wrote a book that gives lesser beings like us tips about the writing process. That has to be worth at least a little smile, right? And I’m also grateful for some wonderful literary journalism this year, including four of the stories listed below in the “What I’m reading online” category. Finally, it’s been a delight to be editing Storyboard this year — dream job, indeed. Here’s to more dreams coming true in 2018 for all of us.

The cover story that materialized from Tullis' pitch.

The Pitch: a veteran freelancer on pitching The New York Times Magazine and more. This is another installment of Katia Savchuk’s great (and useful) series called “The Pitch.” Here she talks to freelancer Paul Tullis, who has been on both sides of the pitching equation, as an editor and a reporter. From the reporter’s side, he says, “I have sold narrative feature pitches in two sentences, but it’s rare. It makes sense to say if you can’t get your idea across in three paragraphs, you need to work on your idea. That said, if it’s an obscure topic, you might need a paragraph just of background to let people know it’s actually important.”

The soundtrack: “Both Sides Now,” by Kate Wolf. This is my favorite version of the Joni Mitchell song. Her deeper voice and impeccable timing bring a new richness to a familiar song. (If you don’t know her version of “Peaceful Easy Feeling,” it’s a revelation.)

One Great Sentence

“We were taken to the ‘Oh, My God, Corner,’ a position near the escalator. People arriving see the long line and say “Oh, my God!” and it’s an elf’s job to calm them down and explain that it will take no longer than an hour to see Santa.”

David Sedaris, “SantaLand Diaries” from “Holidays on Ice.” Read why we think it’s great.

The author John McPhee Department of Communications, Princeton University

“Draft No. 4”: the legendary John McPhee’s “master class in the writer’s craft.” Former Los Angeles Times Book Editor David Ulin has written a lovely essay on why this book by one of the gods of literary journalism is so good. In it, he includes some great lessons from McPhee, like this one: “A piece of writing,” he insists, “has to start somewhere, go somewhere, and sit down when it gets there. You do that by building what you hope is an unarguable structure. Beginning, middle, end.” And this: “What, he began to wonder, about a double profile, involving two figures who are connected but at the same time distinct? ‘In the resonance between the two sides, added dimension might develop. Maybe I would twice meet myself coming the other way. Or four times. Who could tell what might happen? In any case, one plus one should add up to more than two.'”

The soundtrack: “Suspended from Class,” by Camera Obscura. This is one of my favorite underrated bands. This song popped into my head after I read the publisher’s line about “a master class in the writer’s craft.” The song begins with this line, “You’re such a beautiful writer/That’s not all you are.” But my favorite line is from the chorus: “I should be suspended from class/I don’t know my elbow from my ass.”

What I’m reading online: I spent some time this month looking back on some top-notch work of the past 12 months. I’m going to list three of my favorites that we spotlighted on Storyboard, and one I wish we had.

How to Get Away With Murder in Small Town India, by Ellen Barry. I absolutely loved this story, the final piece The New York Times correspondent did as she left New Delhi for London. The writing is spectacular, using first person to unparalleled effect. In this Annotation Tuesday!, Barry says, “If you are using the first person, you almost by necessity need to be a character. Being a rich white person in rural India, or any place that poor, is a strange, uncomfortable feeling much of the time. So I suppose I wanted to explore that.”

The Detective of Northern Oddities, by Christopher Solomon. This piece for Outside magazine is another story that features standout writing (and humor) to draw readers into a serious subject, this time climate change and the sinister effects it may be having on wildlife. It’s about a scientist in Alaska who spends her days “slicing open furry dead animals,” and it features what may be my favorite line in a story this year: “A big pair of garden shears sat on the counter, as foreboding as Chekhov’s gun on the mantel.” Read Allison Eck’s annotation for the inside scoop on how he wrote and reported the story.

Seven Days of Heroin, by the Cincinnati Enquirer staff. I’m still blown away by both the concept and execution of this piece. Sixty staffers reported even the tiniest details of one week in the opioid crisis in Cincinnati, and in a stunning feat of editing, a rich narrative emerged. This shows you don’t have to be one of the “big” newspapers to do standout work on a national issue; you just need a great idea and the commitment to use a large portion of your staff in a show of reporting force. In our Notable Narrative, lead reporter Terry DeMio says, ‘We just wanted to show people: This is what a heroin epidemic looks like.”

A Most American Terrorist: the Making of Dylann Roof, by Rachel Kaadzi Ghansah. This tremendous profile of the young man who killed nine African Americans at a church in Charleston, S.C., features one of the best ledes of the year: “Sitting beside the church, drinking from a bottle of Smirnoff Ice, he thought he had to go in and shoot them.” The writing (and the reporting) is stellar throughout the story, though, as Ghansah follows a trail leading back from that terrible moment to his childhood. This is an example, like Gay Talese’s “Frank Sinatra Has a Cold,” where a reporter captures the essence of a person without interviewing him.

If you want to chat about storytelling (or music), I’m Storyboard editor Kari Howard, and you can reach me at [email protected] . Or you can find me at @karihow on Twitter.

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Journalism Online

Real Information For Real People

What is Literary Journalism: a Guide with Examples

Literary journalism is a genre created with the help of a reporter’s inner voice and employing a writing style based on literary techniques. The journalists working in the genre of literary journalism must be able to use the whole literary arsenal: epithets, impersonations, comparisons, allegories, etc. Thus, literary journalism is similar to fiction. At the same time, it remains journalism , which is the opposite of fiction as it tells a true story. The journalist’s task here is not only to inform us about specific events but also to affect our feelings (mainly aesthetic ones) and explore the details that ordinary journalism overlooks.

Characteristics of literary journalism

Modern journalism is constantly changing, but not all changes are good for it (take fake news proliferating thanks to social media , for instance). Contemporary literary journalism differs from its historic predecessor in the following:

Literary journalism almost completely lost its unity with literature
Journalists have stopped relying on the literary features of the language and style
There are fewer and fewer articles in the genre of literary journalism in modern editions
Contemporary media has lost the need in literary journalism
The habits of media consumers today are not sophisticated enough for a revival of literary journalism

The most prominent works of literary journalism

With all this, it’s no surprise that we need to go back in time to find worthy examples of literary journalism. Fortunately, it wasn’t until the 1970-s that literary journalism came to an end, so here are 4 great works of the genre that are worth every minute of your attention.

Mark Twain, The Innocents Abroad (1869)

Mark Twain studied journalism from the age of 12 and until the end of his life. It brought him his first glory and a pseudonym and made him a writer. In 1867, Twain (as a correspondent of the newspaper Daily Alta California , San Francisco) went on a sea voyage to Europe, the Middle East, and Egypt. His reports and travel records turned into the book The Innocents Abroad , which made him famous all over the world.

In some sense, American journalism came out of letters that served as an important source of information about life in the colonies. The newspaper has long been characterized by an epistolary subjectivity, and Twain’s book recalls the times when no one thought that neutrality would one day become one of the hallmarks of the “right” journalism.

Of course, Twain’s travel around the Old World was a journey not only through geography but also through the history that Twain resolutely refused to worship. Sometimes it’s funny, sometimes not too much, but the more valuable are the lyrical and sublime notes that sound when Twain-the-narrator is truly captivated by something.

John Hersey, Hiroshima (1946)

John Hersey was a war correspondent and a winner of the Pulitzer Prize for his debut story A Bell for Adano . As a reporter of The New Yorker , he was one of the first journalists from the USA who came to Hiroshima to describe the consequences of the atomic bombing.

Starting with where two doctors, two priests, a seamstress, and a plant employee were and what they were doing at exactly 08:15 a.m. on August 6, 1945, when the bomb exploded over Hiroshima, Hersey describes the year they lived after that. Hersey’s uniform and detached tone seems to be the only appropriate medium in relation to what one would call indescribable and inexpressible. Without allowing himself sentimentality, admiring horrors, or obvious partiality, he doesn’t miss any of the details that add up to a horrible and magnificent picture.

Hiroshima became a sensation due to the formidable brevity of the author’s prose, which tried to give the reader the most explicit (and the most complete) idea of what happened for the first time in mankind’s history

Truman Capote, “In Cold Blood” (1965)

Truman Capote turned to journalism as a young writer looking for a new form of self-expression. He read an article about the murder of the family of a farmer Herbert Clutter in Holcomb City (Kansas) in the newspaper and went there to collect the material. His original idea was to write about how a brutal murder influenced the life of the quiet backwoods. The killers were caught, and Capote decided to use their confessions in his book. He finished it only after the killers were hanged. This way, the six-year story got the finale.

In Cold Blood was published in “The New Yorker” in 1965. Next year it was released as a book that became the benchmark of true crime and a super bestseller. “In Cold Blood” includes:

A stylistic brilliance.
Inexorable footsteps of doom destroying both innocent and guilty.
The horror hidden in a person and waiting for a chance to break out.

Tom Wolfe, The Electric Kool-Aid Acid Test (1968)

Tomas Wolfe is one of the key figures of literary journalism. Mainly due to his creative and, so to speak, production efforts, “the new journalism” became an essential part of American culture and drew close attention (both critical and academic).

The Electric Kool-Aid Acid Test became one of the hallmarks of this type of journalism with its focus on aesthetic expressiveness (along with documentary authenticity). This is a story about the writer Ken Kesey and his friends and associates’ community, “Merry Pranksters”, who spread the idea of the benefits of expanding consciousness.

Wolfe decided to plunge into the “subjective reality” of the characters and their adventures. To convey them to the reader, he had to “squeeze” the English language: Wolfe changes prose to poetry , dives into the stream of consciousness, and mocks the traditional punctuation. In general, he does just about everything to make a crazy carnival come to life on the pages of his book (without actually participating in it). Compare that with gonzo journalism by Hunter S. Thompson , the author of Fear and Loathing in Las Vegas which draws upon some similar themes.

The book’s main part is devoted to the journey of the “pranksters” on a psychedelic propaganda bus and the “acid tests” themselves, which were actually parties where a lot of people took LSD. Wolfe had to use different sources of information to reconstruct these events, and it’s hard to believe that he didn’t experience any of them himself. Yet, no matter how bright his book shines and how much freedom it shows, Wolfe makes it clear that he’s talking about a doomed project and an ending era.

When starting any literary journalism project, crafting a solid literature review outline is essential to guide your research and writing. This framework helps organize your sources, ensuring that you address key themes and trends in the field. For example, in literary journalism, it’s important to highlight both classical and contemporary works, offering a balanced view of the genre. By structuring your literature review effectively, you can critically engage with previous research while laying the foundation for your unique contribution to the field.

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What Is Literary Journalism?

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An Introduction to Punctuation
Ph.D., Rhetoric and English, University of Georgia
M.A., Modern English and American Literature, University of Leicester
B.A., English, State University of New York

Literary journalism is a form of nonfiction that combines factual reporting with narrative techniques and stylistic strategies traditionally associated with fiction. This form of writing can also be called narrative journalism or new journalism . The term literary journalism is sometimes used interchangeably with creative nonfiction ; more often, however, it is regarded as one type of creative nonfiction.

In his ground-breaking anthology The Literary Journalists , Norman Sims observed that literary journalism "demands immersion in complex, difficult subjects. The voice of the writer surfaces to show that an author is at work."

Highly regarded literary journalists in the U.S. today include John McPhee , Jane Kramer, Mark Singer, and Richard Rhodes. Some notable literary journalists of the past include Stephen Crane, Henry Mayhew , Jack London , George Orwell , and Tom Wolfe.

Characteristics of Literary Journalism

There is not exactly a concrete formula that writers use to craft literary journalism, as there is for other genres, but according to Sims, a few somewhat flexible rules and common features define literary journalism. "Among the shared characteristics of literary journalism are immersion reporting, complicated structures, character development, symbolism , voice , a focus on ordinary people ... and accuracy.

"Literary journalists recognize the need for a consciousness on the page through which the objects in view are filtered. A list of characteristics can be an easier way to define literary journalism than a formal definition or a set of rules. Well, there are some rules, but Mark Kramer used the term 'breakable rules' in an anthology we edited. Among those rules, Kramer included:

Literary journalists immerse themselves in subjects' worlds...
Literary journalists work out implicit covenants about accuracy and candor...
Literary journalists write mostly about routine events.
Literary journalists develop meaning by building upon the readers' sequential reactions.

... Journalism ties itself to the actual, the confirmed, that which is not simply imagined. ... Literary journalists have adhered to the rules of accuracy—or mostly so—precisely because their work cannot be labeled as journalism if details and characters are imaginary."

Why Literary Journalism Is Not Fiction or Journalism

The term "literary journalism" suggests ties to fiction and journalism, but according to Jan Whitt, literary journalism does not fit neatly into any other category of writing. "Literary journalism is not fiction—the people are real and the events occurred—nor is it journalism in a traditional sense.

"There is interpretation, a personal point of view, and (often) experimentation with structure and chronology. Another essential element of literary journalism is its focus. Rather than emphasizing institutions, literary journalism explores the lives of those who are affected by those institutions."

The Role of the Reader

Because creative nonfiction is so nuanced, the burden of interpreting literary journalism falls on readers. John McPhee, quoted by Sims in "The Art of Literary Journalism," elaborates: "Through dialogue , words, the presentation of the scene, you can turn over the material to the reader. The reader is ninety-some percent of what's creative in creative writing. A writer simply gets things started."

Literary Journalism and the Truth

Literary journalists face a complicated challenge. They must deliver facts and comment on current events in ways that speak to much larger big picture truths about culture, politics, and other major facets of life; literary journalists are, if anything, more tied to authenticity than other journalists. Literary journalism exists for a reason: to start conversations.

Literary Journalism as Nonfiction Prose

Rose Wilder talks about literary journalism as nonfiction prose—informational writing that flows and develops organically like a story—and the strategies that effective writers of this genre employ in The Rediscovered Writings of Rose Wilder Lane, Literary journalist. "As defined by Thomas B. Connery, literary journalism is 'nonfiction printed prose whose verifiable content is shaped and transformed into a story or sketch by use of narrative and rhetorical techniques generally associated with fiction.'

"Through these stories and sketches, authors 'make a statement, or provide an interpretation, about the people and culture depicted.' Norman Sims adds to this definition by suggesting the genre itself allows readers to 'behold others' lives, often set within far clearer contexts than we can bring to our own.'

"He goes on to suggest, 'There is something intrinsically political—and strongly democratic—about literary journalism—something pluralistic, pro-individual, anti-cant, and anti-elite.' Further, as John E. Hartsock points out, the bulk of work that has been considered literary journalism is composed 'largely by professional journalists or those writers whose industrial means of production is to be found in the newspaper and magazine press, thus making them at least for the interim de facto journalists.'"

She concludes, "Common to many definitions of literary journalism is that the work itself should contain some kind of higher truth; the stories themselves may be said to be emblematic of a larger truth."

Background of Literary Journalism

This distinct version of journalism owes its beginnings to the likes of Benjamin Franklin, William Hazlitt, Joseph Pulitzer, and others. "[Benjamin] Franklin's Silence Dogood essays marked his entrance into literary journalism," begins Carla Mulford. "Silence, the persona Franklin adopted, speaks to the form that literary journalism should take—that it should be situated in the ordinary world—even though her background was not typically found in newspaper writing."

Literary journalism as it is now was decades in the making, and it is very much intertwined with the New Journalism movement of the late 20th century. Arthur Krystal speaks to the critical role that essayist William Hazlitt played in refining the genre: "A hundred and fifty years before the New Journalists of the 1960s rubbed our noses in their egos, [William] Hazlitt put himself into his work with a candor that would have been unthinkable a few generations earlier."

Robert Boynton clarifies the relationship between literary journalism and new journalism, two terms that were once separate but are now often used interchangeably. "The phrase 'New Journalism' first appeared in an American context in the 1880s when it was used to describe the blend of sensationalism and crusading journalism—muckraking on behalf of immigrants and the poor—one found in the New York World and other papers... Although it was historically unrelated to [Joseph] Pulitzer's New Journalism, the genre of writing that Lincoln Steffens called 'literary journalism' shared many of its goals."

Boynton goes on to compare literary journalism with editorial policy. "As the city editor of the New York Commercial Advertiser in the 1890s, Steffens made literary journalism—artfully told narrative stories about subjects of concern to the masses—into editorial policy, insisting that the basic goals of the artist and the journalist (subjectivity, honesty, empathy) were the same."

Boynton, Robert S. The New New Journalism: Conversations with America's Best Nonfiction Writers on Their Craft . Knopf Doubleday Publishing Group, 2007.
Krystal, Arthur. "Slang-Whanger." The New Yorker, 11 May 2009.
Lane, Rose Wilder. The Rediscovered Writings of Rose Wilder Lane, Literary Journalist . Edited by Amy Mattson Lauters, University of Missouri Press, 2007.
Mulford, Carla. “Benjamin Franklin and Transatlantic Literary Journalism.” Transatlantic Literary Studies, 1660-1830 , edited by Eve Tavor Bannet and Susan Manning, Cambridge University Press, 2012, pp. 75–90.
Sims, Norman. True Stories: A Century of Literary Journalism . 1st ed., Northwestern University Press, 2008.
Sims, Norman. “The Art of Literary Journalism.” Literary Journalism , edited by Norman Sims and Mark Kramer, Ballantine Books, 1995.
Sims, Norman. The Literary Journalists . Ballantine Books, 1984.
Whitt, Jan. Women in American Journalism: A New History . University of Illinois Press, 2008.
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Literary Journalism

Literary journalism is a genre that merges the factual reporting of journalism with the narrative techniques of literature, aiming to provide in-depth insights into real events and human experiences. This style often involves immersive storytelling, detailed descriptions, and a strong authorial voice , allowing readers to engage deeply with the subject matter. Notable practitioners, such as Truman Capote and Joan Didion, have mastered the balance between factual accuracy and compelling, creative narratives.

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Team Literary Journalism Teachers

11 minutes reading time
Checked by StudySmarter Editorial Team
5 Paragraph Essay
Argumentative Essay
Creative Writing
Alternate History
Analyzing Dialogue
Antagonist Roles
Archetype Roles
Architectural Setting
Audience Adaptation
Authenticity
Author's Perspective
Autobiographical Pact
Backstory Creation
Believable Characters
Biographical Criticism
Biographical Writing
Brainstorming Methods
Chapter Structure
Character Arc
Character Archetypes
Character Arcs
Character Empathy
Character Evolution
Character Flaw Importance
Character Growth
Character Motivation
Character Relationships
Character Transformation
Character-driven Plot
Characterization
Chronology Management
Clarity Checks
Climate And Weather
Climax Development
Coherence Assessment
Collaborative Writing
Colloquial Language
Colloquialism
Complex Narrative Voices
Concept Iteration
Conflict Resolution In Characterization
Connotation
Consistency Checks
Constructive Dialogue
Content Revision
Contextual Criticism
Contextual Influences
Contextual Storytelling
Contrast Techniques
Contrastive Dialogue
Crafting Dialogue
Creative Adaptation
Creative Collaboration
Creative Constraints
Creative Editing
Creative Flow State
Creative Inspiration
Creative Journal
Creative Nonfiction
Creative Partnerships
Creative Reportage
Creative Workshops
Critical Analysis
Critical Essay
Cultural Commentary
Cultural Narrative
Descriptive Language
Descriptive Writing
Developing Dialogue
Devices In Nonfiction
Dialogic Criticism
Dialogue And Setting
Dialogue Authenticity
Dialogue Balance
Dialogue Clarity
Dialogue Coherence
Dialogue Consistency
Dialogue Crafting
Dialogue Dynamics
Dialogue Embodiment
Dialogue Emotion
Dialogue Exchanges
Dialogue Flow
Dialogue In Characterization
Dialogue In Nonfiction
Dialogue Innovation
Dialogue Integration
Dialogue Intentions
Dialogue Interplay
Dialogue Nuances
Dialogue Personalization
Dialogue Punctuation
Dialogue Resonance
Dialogue Rhythm
Dialogue Significance
Dialogue Structure
Dialogue Style
Dialogue Subtext
Dialogue Tags
Dialogue Tension
Dialogue Tone
Dialogue Transformations
Dialogue Transitions
Dialogue Variation
Direct Dialogue
Domestic Setting
Draft Evolution
Draft Outlines
Draft Self-assessment
Drafting And Revision
Drafting Process
Dramatic Irony
Dramatic Setting
Dynamic Characterization
Dynamic Imagery
Ecocriticism
Economic Context
Editing Nonfiction
Editing Precision
Editing Strategies
Effective Dialogue
Emotional Depth
Emotional Resonance
Emotional Subtext
Enigmatic Dialogue
Environmental Context
Environmental Influences
Episodic Structure
Epistolary Form
Evocative Symbolism
Experiential Writing
Experimental Genres
Experimental Writing
Expositional Dialogue
Expression Techniques
Exterior Setting
External Conflict Impact
Falling Action
Feedback Application
Feminist Criticism
Fiction Types
First-person Narrative
Flash Nonfiction
Flashback Technique
Flat Characters
Flow Improvement
Foil Characters
Folklore Influences
Foreign Setting
Foreshadowing Character Actions
Foreshadowing Dialogue
Foreshadowing Hints
Form And Content
Found Poetry
Frame Story
Freewriting Exercises
Genre Blending
Genre Conventions
Genre Exploration
Geographic Setting
Gesture And Motion
Hidden Settings
Historical Narrative
Historical Period
Hook Strategies
Hybrid Forms
Iconic Visuals
Iconography In Writing
Identity Crisis In Literature
Imagery Creation
Imaginative Writing
Imagined Spaces
Imagistic Language
Improvisational Writing
In Medias Res
Indirect Dialogue
Informative Dialogue
Inner Conflict Development
Inner Dialogue
Innovative Nonfiction
Interior Setting
Internal Monologue
Intimate Setting
Irony Usage
Isolated Setting
Kinesthetic Imagery
Language And Style
Language Economy
Language Nuance
Language Precision
Language Refinement
Language Rhythm
Layered Imagery
Limited Perspective
Literal Language
Literary Motifs
Literary Setting
Literary Techniques
Literary Themes
Logical Progression
Lyric Essay
Lyrical Composition
Manuscript Formatting
Marxist Criticism
Memoir Crafting
Mentor Archetype
Metaphor Revision
Metaphor Usage
Minimalist Dialogue
Minimalist Style
Minor Character Traits
Mood Establishment
Motivation In Characters
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Definition of Literary Journalism

Literary Journalism combines factual reporting with narrative techniques and stylistic strategies typically associated with fiction. It offers readers a more immersive experience by telling true stories in a captivating and vivid way. This journalistic style finds its roots in notable works by writers who sought to depict real events with a literary touch.

Origin and Evolution of Literary Journalism

The origin of literary journalism can be traced back to the New Journalism movement of the 1960s and 70s, which was primarily characterized by authors like Tom Wolfe and Truman Capote. They pioneered a new approach to reporting by incorporating creative writing techniques into factual narratives. Before this period, journalism was largely focused on objectivity and brevity.

As time progressed, literary journalism began to evolve. The genre became more accepted and appreciated, expanding its influence beyond traditional newspapers and into magazines and digital formats. Key figures in this evolution included writers like Joan Didion and Norman Mailer, who pushed the boundaries and continually reshaped the form.

In today's world, literary journalism continues to evolve, blending with multimedia and interactive elements online to create even more engaging experiences for readers. This dynamic growth illustrates the genre's adaptability and its ever-increasing relevance in the modern media landscape.

Tom Wolfe, a central figure in literary journalism, described the genre as using the techniques of fiction writing, such as scene-by-scene construction, realist dialogue, and meticulous detailing, in non-fiction works. His approach allowed stories to transcend mere reporting, offering deeper insight into the human condition.

Key Characteristics of Literary Journalism

Literary journalism is marked by several key characteristics that distinguish it from other forms of journalism. These include:

Narrative Style : Unlike traditional journalism, literary journalism uses a narrative approach, enabling stories to unfold more like a novel.
Character Development: Writers focus on developing relatable and vivid characters to help readers connect emotionally with the story.
Descriptive Detail: Emphasis is placed on rich, descriptive detail that paints a colorful picture of the events, setting, and atmosphere.
Subjectivity: While maintaining factual accuracy, literary journalists may infuse their personal voice or opinion to provide insight and depth.

These elements work together to make literary journalism both informative and artful.

Techniques in Literary Journalism

Literary journalism blends factual reporting with creative writing techniques to engage and inform readers. Various methods are employed to achieve this, making stories not just informative but also entertaining.

Literary Journalism Writing Methods

Effective writing methods in literary journalism include the following:

Immersive Reporting: Journalists immerse themselves in the subjects' lives, often spending extensive time in the environment they're reporting on. This allows them to provide detailed, first-hand accounts.
Point of View: Writers choose a particular point of view to tell the story. This technique helps personalize the narrative and can include first-person accounts or a more omniscient perspective .
Story Structure: Unlike traditional news reports, which follow an inverted pyramid structure, literary journalism often mirrors the structure of a novel, with a clear beginning, middle, and end.
Use of Metaphor and Simile: To clarify and emphasize points, writers may use figurative language, drawing on metaphors and similes to create vivid imagery.

These methods help writers convey the complexity and depth of real-life stories, making them resonate with readers.

Immersive Reporting refers to the practice of deeply involving oneself in the subject matter of a story, often to the extent of living or working within the environment being reported on.

Point of view in literary journalism often blurs the line between observer and participant, creating a more intimate and detailed narrative.

Use of Dialogue and Description

The use of dialogue and description is crucial in literary journalism as it helps to bring stories to life.

Dialogue: By incorporating direct conversations, writers can provide authenticity and voice to the subjects of their stories. Dialogue captures the essence of situations and offers insights into personalities.
Descriptive Language : Sensory details and descriptive language allow readers to fully envision the scenes being reported. This involves not only visual details but also sounds, smells, and textures.

The combination of dialogue and description creates a vivid and engaging reading experience, making the factual story more relatable and memorable.

An example of effective use of dialogue in literary journalism can be seen in Truman Capote's 'In Cold Blood,' where the real conversations between characters provide an intimate glimpse into the lives of its subjects, adding depth and realism to the narrative.

Narrative Style in Literary Journalism

The narrative style employed in literary journalism differentiates it significantly from other journalistic forms:

Scene Construction: Literary journalists often build scenes much like a fiction writer, focusing on specific moments to convey larger truths.
Temporal Perspective: These stories may not follow a chronological order, allowing the use of flashbacks or non-linear timelines to enhance the narrative complexity.
Emotional Engagement: Writers aim to connect readers emotionally, encouraging them to care about the subjects and issues being discussed.

The narrative style, therefore, transforms data and facts into a compelling story that resonates on multiple levels, inviting readers to see beyond the surface of mere events.

Joan Didion's work exemplifies intricate narrative structures, often employing a temporal perspective that challenges the conventional flow of time. In her essays, events are depicted out of sequence, creating a tapestry of interconnected scenes and reflections, which allows a deeper understanding of themes and context.

Themes in Literary Journalism

Themes in literary journalism are crucial as they drive the narrative and provide insight into broader contexts. These themes often explore complex subjects and allow for deeper analysis and understanding through the lens of literary techniques .

Popular Themes in Literary Journalism

Several popular themes emerge frequently in literary journalism. These include:

Social Justice: Many stories highlight issues of inequality and injustice, aiming to shine a light on underrepresented or marginalized communities.
Politics and Power: This theme explores the dynamics of power, often focusing on political landscapes, influential figures, and systemic policies.
Identity and Culture: Writers delve into cultural narratives, examining identity, ethnicity, and the experiences that shape individuals within societies.
The Human Condition: This broad theme encompasses stories about human emotions, struggles, and triumphs, seeking to understand what it means to be human.

The exploration of such themes helps readers gain a nuanced perspective on real-world issues.

Social Justice in literary journalism refers to the focus on themes that address issues of equity and human rights, often giving voice to the voiceless.

When examining politics and power, literary journalists often use real narratives to reveal the impact of decisions on everyday people.

Exploring Human Experiences

One of the profound aspects of literary journalism is its ability to explore human experiences in depth. These stories often uncover the intricacies of personal and collective journeys.

Emotional Depth : Writers capture a wide range of emotions, providing readers with insights into joy, sorrow, struggle, and resilience.
Personal Narratives: By focusing on individual stories, writers offer a personal touch that makes broader issues relatable on a micro-level.
Cultural Insights: Exploring the daily lives and traditions of different groups, writers reveal the rich tapestry of diverse cultures.

These narratives serve as a mirror, reflecting the complexities of real life and encouraging empathy and understanding amongst readers.

An example of exploring human experiences can be seen in the works of Studs Terkel, whose books like 'Working' compile real-life interviews that offer a glimpse into the lives of ordinary people - their aspirations, struggles, and achievements.

One of the key techniques journalists use to delve deep into human experiences is the incorporation of 'immersive narratives.' By living and experiencing the subjects' lives, journalists can provide stories enriched with authenticity and profound insight. This approach was notably employed by authors like Barbara Ehrenreich in 'Nickel and Dimed,' where she investigated the impact of low-wage work by living it herself.

Literary Journalism Examples

Literary Journalism offers a unique blend of factual reporting interwoven with narrative techniques. Classic and modern examples demonstrate the range and adaptability of this engaging journalistic style.

Classic Literary Journalism Works

The foundation of literary journalism is built on several classic works that have stood the test of time. These works often explore complex social and cultural themes, providing readers with rich narratives derived from real-life experiences.

'In Cold Blood' by Truman Capote: This pioneering work provides a detailed and vivid account of a real crime, blurring the line between fact and fiction.
'The Electric Kool-Aid Acid Test' by Tom Wolfe: Wolfe's work captures the essence of the American counterculture in the 1960s with colorful and immersive storytelling.
'The Right Stuff' by Tom Wolfe: Another excellent piece by Wolfe, detailing the space race through rich narrative and character exploration.

These examples illustrate how literary journalism transforms factual stories into compelling and engaging narratives.

An example of classic literary journalism is George Orwell's 'Down and Out in Paris and London,' which combines autobiographical elements with sharp social commentary, offering an intimate look at poverty in two major cities.

Many classic works of literary journalism are often used as educational resources to illustrate the potential of narrative in factual storytelling.

Modern Literary Journalism Pieces

Modern literary journalism continues to evolve, with writers exploring innovative ways to report and narrate real-world events. These contemporary pieces often address current issues and utilize digital formats to enhance storytelling.

'The Lost City of Z' by David Grann: This modern work combines historical research with thrilling adventure, creating a gripping narrative about Amazon exploration.
'Just Mercy' by Bryan Stevenson: Delving into the American justice system, this work combines legal intricacies with personal stories to highlight social justice issues.
'Evicted' by Matthew Desmond: This Pulitzer Prize-winning book provides an intimate look at poverty and housing insecurity in America through detailed accounts of families' struggles.

These modern examples showcase the continued relevance and adaptation of literary journalism in addressing contemporary issues and engaging a digital audience.

Modern literary journalism often incorporates multimedia elements to create an immersive experience. This includes the use of digital platforms that enable interactive storytelling, which adds layers and dimensions to the narrative, allowing readers to engage with supplementary materials such as audio, video, and interactive graphics.

Literary Journalism - Key takeaways

Definition of Literary Journalism: Combines factual reporting with narrative and stylistic strategies usually found in fiction.
Origin and Evolution: Traced back to the New Journalism movement of the 1960s and 70s led by writers like Tom Wolfe and Truman Capote.
Techniques in Literary Journalism: Includes immersive reporting, point of view, novel-like story structures, and figurative language like metaphors and similes.
Narrative Style: Involves scene construction, non-linear timelines, and emotional engagement, differing from traditional journalism.
Themes in Literary Journalism: Focuses on social justice, politics and power, identity and culture, and the human condition.
Examples of Literary Journalism: Classic works like 'In Cold Blood' by Truman Capote and modern pieces like 'Just Mercy' by Bryan Stevenson showcase the genre's range.

Flashcards in Literary Journalism 12

It only covers historical events without any present-day relevance.

Maintaining a strict chronological order in all stories.

Mythology, science fiction, wildlife, fantasy

It omits character development and descriptive detail.

Joan Didion and Norman Mailer

'The Great Gatsby'

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How to Write a Literary Journalistic Essay

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Literary journalistic essays are a popular form of creative nonfiction. Their purpose is to inform and enlighten. Publications such as The New Yorker , The Atlantic Monthly, Harper’s publish this type of writing. It is writing about facts that are external to the writer’s own life. The writer uses literary devices, such as dialogue, setting, characterization, and plot structure to tell a true story about a person, place, event, experience, or to write about a big idea, like counterterrorism. The writer can choose any topic, so long as it can be researched. Most universities offer courses on how to write a literary journalistic essay, and many creative nonfiction textbooks include the topic of writing literary journalistic essays. Most published writers of creative nonfiction are experts on writing this type of genre. Therefore, if you are going to write creative nonfiction, you ought to know what is a literary journalistic essay and how to write it.

This article defines the term “literary journalistic essay” and briefly explains how to write one. It also provides some tips on writing a literary journalistic essay, and it identifies several good books to help you learn more.

Definition of a Literary Journalistic Essay

What is a literary journalistic essay? It is the “literature of fact.” The writer can compose an essay on any topic, such as drug addiction, rape, unemployment, spirituality, or crime. Whatever the topic, the writer needs factual and true information to write about a person, place, event, or idea. These facts must be verifiable. In fact, every important fact must be verifiable.

Most often, the literary journalistic essay requires that the writer complete some research, often extensive research, in order to uncover the facts. Unlike the personal essay or memoir, which is based on the writer’s own life, a literary journalistic essay is based on another person’s life, or events, or experiences external to the writer’s own life.

Unlike the personal essay or memoir, which is written from the first-person “I” point of view, the literary journalistic essay is written from the third person “he/she” point of view.

The writer’s goal is to dramatize the story or events by using dramatic scenes. A scene includes a location/setting, passage of time, details and descriptions, action of by the people in the story.

The writer also uses other literary devices to craft an interesting story. Popular literary techniques include simile, metaphor, and imagery.

The intention of the writer is to inform the readers and to also enlighten them with new information.

But the writer must do more than enlighten; the writer must also entertain by recreating the scene. The writing accomplishes this by using the elements of fiction, such as the use of characterization, dialogue, narrative structure, and so on.

The New Yorker magazine and the Best American Essays, a book that is published each year, includes many good literary journalistic essays.

How to Write a Literary Journalistic Essay

Unlike the formal essay taught in univesity history courses or english courses, there is no single way to write a liteary journalisitic essay. However, the writer does need to follow certain guidelines. For instance, the subject must be well-researched. The essay must include a lead that grabs the readers attention and tells the reader what the essay is about. The content of the essay must include interesting and informative facts, information that enlightens the reader about the topic. The content of the essay must also support the writer’s point of vew. And in writing the essay, the writer must use the literary devices. To close, the writer makes a final point. He/she leaves the reader with one final point about the subject.

Breifly, to write the literary journalistic essay, do the following:

Select a topic.
Conduct Research.
Write a dramatic story.
Include a lead, facts/content, and ending.

Choosing a Topic

You can write about anything. Popular topics include:

Crime story
Family saga
Popular culture
Science and technology

Choose a topic that allows you to write intimately and to dramatize the story.

Before writing, ask yourself the following:

What type of lead do I wish to use?
What is the story about?
What are the themes?
What major points do I wish to make?
What facts do I have? What facts do I still need?
Are my facts verifiable?
Who have I interviewed? Who must Istill interview?
How do I want to organize the essay? By topic? Chronological order? Logical order?
What are my own views on the topic? How do I wish to incorporate my views into the essay?

Research Your Topic

A literary journalist is based on fact. Therefore you will need to collect the facts for your story. The best approach is to use personal reportage. Here is how:

Observe the person, event, or experience. Afterwards, make notes.
Interview subject matter experts. Make notes as you ask questions, or use a tape recorder.
Immerse yourself in the story. In other words, live the experience. For instance, writer George Plimpton lived as a football player for a while to write Paper Lion.
Use the library. Read relevant books, magazine articles, and newspaper clippings, and take notes as you read.
Conduct a search of your topic using Google. Start by conducting a search on the Web to see what has been written on the subject.
Complete primary research. A primary source is a record created as part of, or during an event, crisis, or time period. For instance a letter, diary, personal journal, and government records and governmental report.

Observe Your Subject

A good way to learn about the person or topic is often by observation. Find out the following:

What is your subject wearing?
What is your subject saying?
How is your subject behaving?

You can also immerse yourself in the story by becoming a participant.

Conducting an Interview

An interesting quotation from a subject matter expert or witness to the events can turn a dull story into one that captures the interest of the reader. If you are going to write good creative nonfiction, you must know how to interview. Here are a few tips:

Make a list of questions to ask.
Take a pen and paper, or tape record.
Interview the subject matter experts.
Ask the person you are interviewing to stop talking while you are attempting to take notes.
After the interview, type out your notes.
Save the toughest questions for last.
Don’t quote a subject matter expert out of context.
Don’t fabricate quotations.

Use Dramatic Scenes

To write the essay, incorporate the technique of “scene building” into the essay. To do this, show the reader, don’t tell them, what happened. Scene building isn’t a narrative summary, which includes generalizes time, collapses events, provides a brief descriptions and mentions people. Scene building isn’t an exposition, which explains and analyzes. Scene building isn’t a voice over, which interprets the experience. What, then, is scene building?

The writer recreates the event or experience in the mind of the reader. Scene building creates a dream in the mind of the reader. It is like a scene from a film. A scene takes place in a specific place at a particular time. It includes action and dialogue. It includes concrete and specific details, not abstract language and generalizations. It also includes details that appeal to the senses, such as the sense of sight, hearing, smell, touch, and taste. It creates a sense of movement.

To summarize, a scene includes the following elements:

Time. A scene takes place at a particular time.
Place. A scene takes place in a particular place. It provides context and creates a mood.
Details. A scene always includes important details. These details are concrete and specific, not general or abstract. A scene also includes scensory details, which appeal to the readers sensese, the sense of sight, smell, taste, hearing, and touch.
Action. A scene includes action, such as a confrontation, crisis, or the action and reaction of people.
Dialogue. Not always, but often a scene include important comments and conversations.
Details and Descriptions. Use sensory images. The details reveal the underlying story or the universal truth.

This doesn’t mean that the writer excludes expositions or a summary from a literary journalistic essay. These elements have a function. It is just that the writer keeps each of these elements separate.

Include a Lead, Content, and Ending

Whether you write about a person, place, event, idea, your story needs a lead that tells the readers the purpose of your essay and why they should read the essay. The lead also needs to persuade the reader to read the essay. So, you must write a hook. It can be a quotation, interesting fact, important point, question, anecdote.

In the body of your essay, you can write about the important facts. In addition, you can include personal opinion, thoughts, and feelings. You can also use literary devices, such as imagery, metaphor, and simile. The key point is to remember to inform and enlighten your readers.

In a short essay, you can organize your points in chronological or logical order. In a longer essay, you can organize your ideas by topic. In this case, you can use headings and subheadings.

In closing, you need to leave the reader with an important point. Otherwise, the reader will think: “So what? What was the point of writing the essay”

Your goal is not to preach or sermonize . Your goals are to entertain, inform and enlighten your reader.

For more information on how to write a lead and ending, read my earlier post. You can also learn how by reading William Zinsser’s book On Writing Well.

Tips on How to Write a Literary Journalistic Essay

There is no single method of writing a literary journalistic essay. That being said, a literary journalistic essay requires a lead, content that is based on factual information, and an ending. Here are a few tips on how to write the literary journalistic essay:

Learn about your subject through personal reportage. Interview others, conduct research in the library and on the Web. Immerse yourself in the story.
Outline your story before writing it. What is your lead? What important points do you wish to make? What facts do you have? How do you intend to end your essay?
Include a lead and ending. The lead tells the reader what your essay is about; The ending leaves your reader with a final message. What final point do you want to make?
Use your distinctive voice. You reveal your voice by your choice of diction, choice of sentence patterns, choice literary devices, such as alliteration, imagery, metaphor, simile, and so forth.
Write a true story about a person, place, event,or idea. Make sure that the story is interesting and informative. If it isn’t, write about something else.
Write dramatic scenes—action, dialogue, details, setting.
Consider narrowing your topic to a brief period of time.
Use literary devices. Popular devices include metaphor, simile, alliteration, and imagery.
Tell your story using the third-person point of view. (he/she)
Make use your writing reveals a universal truth or message. Otherwise your reader’s will say: “So what? What was the point?”
Be sure your writing informs and enlightens. Before writing, use Google to check what has been written on the topic.
Conduct extensive research on your topic. Often you will use only a partial amount of the information that you collect. Your goal is to become a subject matter expert, so that you can write as an expert.

Resources to Help You Write a Literary Journalistic Essay

There are some excellent books available to help you in the art and craft of writing a literary journalistic essay. Here are a few of the good books you should read:

Writing Creative Nonfiction by Philip Gerald. It provides good advice.
The Art of Creative Nonfiction by Lee Gutkind. This is a must read.
The Truth of the Matter: Art and Craft of Creative Nonfiction by Dinty W. Moore. This book provides good how-to advice and an anthology.
The Fourth Genre: The Contemporary Writers of/on Creative Nonfiction by Robert Root and Michael J. Steinberg.
The Elements of Style by Strunk and White. This book tells you how to develop your style and how to compose any writing. Buy it and internalize the advice on writing.
Tell It Slant: Writing and Shaping Creative Nonfiction by Brenda Miller and Suzanne Paula
On Writing Well by William Zinsser. If you want to write creative nonfiction, you should buy and master the advice in this classic text.
The Best American Essays Series. It is published each year.

If you have any questions, please post them to this blog or send me an email at [email protected] .

Next, I will explain how to gather facts, so that you can write a literary journalistic essay.

How to Write a 1000 Word Essay & How Many Pages Is It? + Examples

Writing a 1000 word essay can seem daunting at first, but with the right approach, it’s a manageable and rewarding task. This guide on How to Write a 1000 Word Essay will walk you through the process of crafting a compelling 1000 word essay, discuss its typical length in pages, and provide examples to help you succeed.

What You'll Learn

Understanding the 1000 Word Essay

A 1000 word essay is a common assignment in many academic settings. It’s long enough to allow for in-depth exploration of a topic, yet concise enough to require careful planning and efficient writing. When learning how to write a 1000 word essay, it’s crucial to understand its scope and purpose.

The 1000 word essay typically falls between a short reflection piece and a full-fledged research paper. It provides enough space to develop your ideas thoroughly while challenging you to be precise and focused. Mastering this format will help you become a more effective writer, capable of conveying complex ideas within a defined word limit.

Planning Your 1000 Word Essay

Before you start writing, it’s essential to plan your 1000 word essay carefully. This planning phase is crucial in determining how to write a 1000 word essay effectively. Begin by thoroughly understanding the essay prompt or question. Then, brainstorm ideas and conduct preliminary research to gather relevant information.

Create an outline that includes your main points and supporting evidence. For a 1000 word essay, aim for 3-5 main points. This structure will help you maintain focus and ensure a logical flow of ideas. Remember, a well-planned essay is half-written, so invest time in this stage to make the writing process smoother.

Writing the Introduction

The introduction of your 1000 word essay sets the tone for the entire piece. When considering how to write a 1000 word essay, pay special attention to crafting a strong opening. Your introduction should:

Hook the reader with an interesting fact, question, or anecdote
Provide necessary background information
Present your thesis statement

In a 1000 word essay, aim for an introduction of about 100-150 words. This gives you enough space to engage the reader and outline your main argument without taking up too much of your word count.

Developing the Body Paragraphs

The body of your 1000 word essay is where you’ll present your main arguments and supporting evidence. When learning how to write a 1000 word essay, remember that each body paragraph should focus on a single main point that supports your thesis.

Structure each paragraph with:

A clear topic sentence
Supporting evidence or examples
Analysis of the evidence
A transition to the next point

In a 1000 word essay, you’ll typically have 3-4 body paragraphs, each ranging from 200-300 words. This allows you to develop your ideas thoroughly while maintaining a balanced structure.

Writing the Conclusion

As you near the end of your 1000 word essay, it’s time to craft a strong conclusion. The conclusion should:

Restate your thesis in light of the evidence presented
Summarize your main points
Provide a final thought or call to action

When considering how to write a 1000 word essay, aim for a conclusion of about 100-150 words. This gives you enough space to wrap up your arguments effectively without introducing new information.

Editing and Refining Your 1000 Word Essay

After completing your first draft, it’s crucial to revise and refine your 1000 word essay. This stage is often overlooked but is essential in learning how to write a 1000 word essay effectively. Start by taking a break before returning to your essay with fresh eyes.

Clarity and coherence of arguments
Proper citation and referencing
Grammar and spelling errors
Word count accuracy

Don’t be afraid to cut unnecessary words or reorganize your paragraphs for better flow. Remember, a well-edited 1000 word essay is more impactful than a longer, unfocused piece.

Examples of 1000 Word Essays

To better understand how to write a 1000 word essay, let’s look at some examples:

Argumentative Essay: “The Impact of Social Media on Mental Health” This essay could explore the positive and negative effects of social media use on mental well-being, citing recent studies and expert opinions.
Descriptive Essay: “A Day in Ancient Rome” This essay might vividly describe the sights, sounds, and experiences of a typical day in ancient Roman society.
Compare and Contrast Essay: “Online Learning vs. Traditional Classroom Education” This essay could analyze the advantages and disadvantages of both learning methods, considering factors like flexibility, interaction, and learning outcomes.

Tips for Success in Writing a 1000 Word Essay

To excel in writing a 1000 word essay, keep these tips in mind:

Start early to allow time for research and revision
Stay focused on your main argument and avoid tangents
Use clear, concise language to make every word count
Incorporate relevant examples and evidence to support your points
Pay attention to proper formatting and citation style

Related Article: 1000 Words Essay Sample You Wanted To See

How long is a 1000 word essay example? A 1000 word essay is typically 3-4 pages long when double-spaced with 12-point font.

How many pages is a 1000 word essay? A 1000 word essay is usually about 2 pages single-spaced or 4 pages double-spaced.

What is the structure of a 1000 word essay? A 1000 word essay typically includes an introduction (100-150 words), 3-4 body paragraphs (200-300 words each), and a conclusion (100-150 words).

How many sentences should be in a 1000 word essay? A 1000 word essay generally contains 50-67 sentences, assuming an average sentence length of 15-20 words.

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Purdue Online Writing Lab Purdue OWL® College of Liberal Arts

Submitting to Literary Magazines

Welcome to the Purdue OWL

This page is brought to you by the OWL at Purdue University. When printing this page, you must include the entire legal notice.

Copyright ©1995-2018 by The Writing Lab & The OWL at Purdue and Purdue University. All rights reserved. This material may not be published, reproduced, broadcast, rewritten, or redistributed without permission. Use of this site constitutes acceptance of our terms and conditions of fair use.

OVERVIEW

This section of the OWL seeks to demystify the process of submitting creative work to literary magazines. We’ll review topics such as how to figure out what to submit in the first place, how to find good potential homes for your work, and how to maximize your chances for acceptance. We’ve also included examples of writing relevant to the submission process such a cover letter and a biography as well as an acceptance and rejection letter to provide a look into what correspondence with literary magazines looks like.

INTRODUCTION

You’ve done it! Whether it was a lightning bolt of inspiration or weeks (months? years?) of writing and revising, you’ve crafted a piece of creative writing you’re proud of. Maybe it’s a sestina; maybe it’s a lyric essay. Whatever it is, you want to get it published. Reasons for publication are numerous: wanting to see what others think of your work, seeking a way to bulk up your CV, or hoping for a chance to get some hard-earned cash, just to name a few. Regardless of if you’ve submitted 100 times before or this is your first time, this resource will help you navigate the submission process.

We’ll start by thinking through what you can submit in the first place. Next, we’ll move into thinking about where to submit, considering strategies for finding places to submit in the first place as well as how to discern whether or not a particular publication is a good fit for your work. After, we’ll think through the logistics of how to submit and talk through an example cover letter and biography (written materials you’ll almost certainly be asked to include in your submission). Finally, we’ll discuss what happens after you submit and review a few example rejection letters as well as an example acceptance letter.

WHAT DO I SUBMIT?

There are three main considerations when discerning what to submit: 1) whether or not a piece has already been published, 2) the genre of a piece, and 3) the length of a piece.

First, if a piece has already been published, including on a personal blog, a website, and/or on social media, your piece is almost always not eligible for re-publication. The same goes for work that has already been self-published. Lit mags (also referred to throughout this document as literary magazines, literary journals, and journals) want to be the first to feature your work in question and not just “another place” that offers your work a home.

Second, different lit mags accept different genres. For example, if you only write short stories, you won’t be able to publish in Rattle , which only publishes poetry. If you write in multiple different genres, you might find that you are able to submit your fiction to one magazine, and your essays to another.

Third, lit mags often have length restrictions, which can vary widely. You might be able to submit poems only if they are 50 lines or less; or, you might be able to submit any type of prose so long as it is 6,000 words or less. If you tend to write particularly long pieces but want to submit to a lit mag that has length restrictions, try finding an excerpt of a larger work to submit or condensing your work for the sake of submitting it.

WHERE DO I SUBMIT?

After deciding to submit what work to submit, one question often looms: Where do I submit? Finding lit mags is just a Google search away. Chances are, you’ve heard of some flagship publications: The New Yorker , Paris Review , Ploughshares …. Just as there are myriads of different types of writing in the world, so too are there myriads of different kinds of lit mags. Some have been around for decades; some were founded earlier this year. Some only publish online; some only publish hard copy. Some are themed (nature poems only, zombie fiction only, Wyoming-themed work, etc.). Some operate through universities; others are independent. Some require payment to have your work read (usually a smallish fee, say, $3) whereas others allow you to submit for free. Some pay their contributors, though most don’t, or do only minimally. Some ask you to submit your work through Submittable (an online submissions-management platform) whereas a select few ask for hard copy submissions mailed to their office. (For more on this front, “How do I submit?” is a good place to start.) Seeking the right home for your work can be intimidating, but it’s not an impossible task. Below are four strategies to help you find places to submit to in the first place.

1. This list from Driftwood Press: a good starting point!

If you don’t know where to start, Driftwood Press keeps a massive “Where Else to Submit” list, linked above, that includes links to hundreds of different magazines and presses, what genres they accept, when their submission deadlines are, whether or not there is a submission fee, and whether or not they offer compensation for publication.

The enormity of the list can be overwhelming, but you can always select a few lit mags on this list at random and begin scanning their websites to see what their publication is all about as you consider whether your work might find a good home there.

2. What writers do you like? Where did they publish?

Do you have a favorite author? Favorite poet? Take a look at a book of theirs and see where they’ve published. This is especially relevant for books of poetry, essays, short stories, or other work often published as a collection. Just like musical artists often release a few singles before their album, it is commonplace for a writer to have portions of their work published in lit mags before putting out a book-length collection.

In other words, if you like Writer X’s work, maybe you’ll like where she publishes, too! If you are reading contemporary work, it’s helpful simply to read the “Acknowledgements” pages and slowly get familiar with the names of different lit mags.

3. Look local.

If you are a Purdue student, maybe you’ve grown particularly fond of the cornfields in Indiana, and publishing work through a local journal is particularly appealing to you. If so, maybe you’d be especially drawn to the Sycamore Review , The Indianapolis Review , or any number of other journals based out of Indiana. To find local lit mags or publishers, a good start would be to visit a bookstore or library in your area and browse their shelves to see what lit mags they’re carrying.

4. Consider submission windows.

A vast majority of literary magazines do not accept submissions year-round; rather, they may have a “submission window” where they accept work. Some magazines only accept work one month of the year, whereas others may have two different three-month submission periods during the calendar year. Some magazines might have a month-long submission window (June 15-July 15, for example) that will automatically close once they reach a certain number of submissions. If, for instance, you only have time to commit to submitting your creative writing in the summer months, you’ll want to find magazines that accept submissions in the summertime. As you begin the process of finding lit mags you like and want to publish in, it might help to make a document to organize when you can submit to which magazine.

HOW DO I KNOW IF MY WORK IS A GOOD FIT?

Below are three considerations to help you gauge if your work seems like it could be a good fit for the journal you’ve found.

1. Read the most recent issue.

This is arguably the most time-consuming (and perhaps frustratingly obvious) tip, but it has to go first. Just like the best way to figure out if you like a restaurant is to try its food, the best way to figure out if you want to submit to a lit mag is to give it a read. If paying the $10 or $15 dollars necessary to order the lit mag (or pay for online access to it) isn’t possible or doesn’t appeal, fear not! There is often online content for your perusal. Most, though not all, lit mags have online features, so while you may not be able to read the most recent issue in its entirety, you can still read work that the magazine’s editors deemed fit for publication. Even if a lit mag doesn’t publish any of their work online (or a paywall prevents you from accessing it), lit mags that offer contests will often publish contest winners.

2. Read the “About Us.”

Beyond growing familiar with work the lit mag publishes, check out the “About Us” page. This will often include the mission statement / vision for the journal, which can also be helpful in discerning if there might be aesthetic similarities and/or shared interested between you and the folks who run the journal. Further, it can be great to look into who runs the lit mag. If you’re sending in a short story, who is the fiction editor? Look that person up—maybe even read a short story published by the editor. Does this person seem like they might be interested in the kind of work you create?

3. If you are in touch with other writers, use them as resources!

Not everyone is in the position of having other writers nearby, but if you are in touch with other writers and/or know of writers who have publishing experience, feel free to ask them if they have any experience with the journal you have in mind. Maybe they won’t, but maybe they will—or know someone who does. (Consider this is a broader encouragement, too, to seek out community as you seek readers for your work.)

WILL MY WORK BE ACCEPTED?

It’s important to make a few concessions, here.

Concession Number One: There are many more writers than there are literary magazines, journals, and publishers.

Concession Number Two: Except for the most widely renowned writers (think, those who have entire bookcases devoted to them at big-name bookstores), creative writing is not a lucrative field, and likely will not become one.

These two concessions combine for Concession Number Three: Readers and editors for literary magazines are swimming in submissions. It’s not unreasonable for a magazine to receive 700 short story submissions and only be able to publish five of them, or to receive 200 poetry submissions and only be able to publish eight.

Space within magazines, especially print ones, is at a premium; the time of the person reading your submission is at a premium, too. It is actually a great sign of encouragement when, in response to your submission, you receive what’s known as a personalized rejection rather than a form rejection. That is, you might receive a note informing you that, while the journal cannot publish your work at this time, they enjoyed reading it and would love to hear more from you in the future. (Read more below on I submitted: Now what?)

So, will your work be accepted? Statistically speaking, it’s unlikely. But, it’s also unlikely for an NFL team to win a Super Bowl, or a scientist to win a Nobel Prize, or a student to get admitted into Harvard, but these things happen every single year. If publishing is something important to you, don’t let the odds stop you from trying.

WHAT CAN I DO TO MAXIMIZE MY CHANCES OF BEING PUBLISHED?

While publication percentages may not be particularly confidence-inspiring, there are things you can do to increase the chance your work will get picked up.

1. Submit your best work.

This is perhaps obvious, but it bears noting. As discussed above, readers for lit mags are often inundated with submissions. Submit your best work first to help yourself stand out. If you’re unsure which is “best,” ask a trusted reader for their opinion. Further, if you are submitting a packet (two different flash fiction pieces, or five pomes) rather than an individual work, start with the strongest.

2. Read the submission guidelines!

For better or worse, lit mag readers and editors are almost always looking for ways to easily shrink their stack of 1,000 submissions, to, say, 100. And then to 10. There is no easier way to get your submission denied than by neglecting to follow every submission guideline. This means that you should not submit four poems when the magazine only accepts three, submit a PDF when the magazine asks for a Word doc, or submit your fiction to the nonfiction category. Similarly, do not send in a 2,500-word essay when the journal asks for a 2,400-word maximum.

Follow all submission guidelines exactly, not because it is so important to, say, have your bio in third-person as opposed to first-person, but because following these guidelines will allow the reader to immediately dive into the important material—your work—without getting bogged down by any logistical hiccups. Further, adhering to the submission guidelines shows that you yourself are a careful reader and that you respect the journal by following said guidelines in the first place.

3. Make sure your work is a good fit in the first place!

Revisit “How do I know if my work is a good fit?” above.

4. Consider simultaneous submissions.

Most journals accept simultaneous submissions, which is, as the term suggests, submitting your work story to multiple different journals simultaneously. Most journals will clarify in their guidelines whether or not they accept simultaneous submissions (a vast majority do, so long as you let Journal B know that your piece is no longer available as soon as Journal A accepts it .) If there’s a short story you really want in the world, consider sending it to a handful, maybe even two handfuls, of places.

CONTESTS VS. GENERAL SUBMISSIONS

Another consideration for submissions is whether you’d prefer to submit to magazine’s general submissions, their contests, or a mix of both. Contests, offered by some—not all—journals, are generally more competitive and more expensive to enter (fees usually range between $20-$30). But, winning them almost always comes with clout as well as prize money, ranging from modest sums ($100) to larger ones ($1,000+). Sometimes, contest winners are selected by a guest judge (generally a respected and perhaps well-known writer), and other times they are chosen by the editors of the magazine themselves.

One thing to note is that even if you don’t win the contest, it can be possible to still be picked up for publication by the journal as a finalist or simply as someone who caught the attention of the judges. Whether or not finalists and/or semifinalists are published alongside the contest winner (or winners) is up to the magazine’s discretion.

HOW DO I SUBMIT?

On the websites of most journals, there will most likely be a tab that says “Submit” or “Submissions.” Occasionally, this tab is slightly buried somewhere on the webpage. (Look in the “About Us” or “Contact Us” sections of the site if you have trouble finding it.)

In terms of actually submitting, a vast majority of journals only accept—or greatly prefer—online submissions. Generally, this is done via a platform called Submittable that allows you (as the submitter) to manage and track your submissions, just as it allows the journal editors to track and view their submissions. Sometimes, submitting is done via an in-house submission portal, and, in the rarest of circumstances, a magazine will only accept mailed, hard copy submissions. Regardless, the lit mag will (or should ) have their submissions process clearly demarcated on their website in terms of 1) how to submit, 2) what time(s) of year they accept submissions, and 3) what they are looking for in terms of submissions (genre, page length, etc.).

As noted previously, following these submission guidelines exactly is in your best interest. Beyond preparing your piece of writing for submission and figuring out the journal’s guidelines so you can follow them, there are two other pieces to the submission puzzle you’ll need: a strong cover letter and a solid, succinct bio.

COVER LETTER + EXAMPLE

The cover letter is your chance to briefly let the journal know 1) what you are submitting as well as 2) why you are submitting to that magazine in particular. The best-case scenario for a cover letter is that you’ve presented yourself in a professional manner as an eager, capable writer with a strong reason for submitting to the journal. What follows is an example cover letter:

Dear Audrey Li and the entire Coffee Journal team,

Please consider my following poems, “Exciting Poem 1,” “Clever Poem 2,” and “Memorable Poem 3” for inclusion within an upcoming edition of Coffee Journal . I especially admired Ash Lever’s “Brilliantly Titled Poem” in your latest edition and would be honored for my work to be considered for publication in an upcoming edition of your journal.

This is a simultaneous submission, and I will let you know immediately if any of these poems are accepted elsewhere.

Thank you in advance for taking the time to consider my work.

Best,

It’s helpful to make a few quick notes on this example cover letter and what this writer does well. She…

Addresses, by name, the relevant genre editor to whom she has addressed the cover letter.
Includes the name of the work she is submitting, as well as the professional, polite request to consider her work in an upcoming edition of the journal.
Mentions something she specifically admires about the journal in question, revealing herself as someone who has “done her homework”—that is, she is showing that she really does have (at least some) vested interest in this magazine.
Notes that her submission is simultaneous; that is, she is submitting these poems to other magazines as well. As previously noted, this is fine to do if the magazine accepts simultaneous submissions so long as she lets Coffee Journal know that one (or more) of her poems is no longer available as soon as she learned another journal has accepted them.
Concludes the note by thanking the editor(s). Remember, these cover letters are being read by readers who are often underpaid or unpaid and who have, more often than not, dozens and dozens of pieces to read. Kindness in a cover letter is important here just as it is elsewhere.

For more, The Adroit Journal has a great piece further explaining the ins and outs of cover letter writing with an annotated example.

BIOGRAPHY + EXAMPLE

The biography is your chance to briefly give a glimpse of who your writer-self is. Common information to include is where you are from, where you went to or are going to school, what you do for work, and where you have been previously published (if applicable). Writing in third person is the best way to go.

Generally, these are expected to be professional. That said, if the journal you are applying to is particularly quirky, or you have no desire to confine yourself to the constraints of a traditional cover letter, feel free to be quirky. The best-case scenario for a biography is that, similarly to the cover letter, you’ve presented yourself as a professional and given the magazine a small glimpse of who you are.

For those of you asking, “What do I put for publications if I haven’t published anywhere yet?” the answer is simple: nothing. Don’t let your lack of publishing be a catch-22 stopping you from trying to publish in the first place. And take heart: Many magazines exist specifically with the mission to promote new and emerging writers.

What follows is an example biography:

A. Writer is a poet from Indiana. She received her MFA in poetry from A Super Excellent University, and her poems have appeared in This Cool Journal and are forthcoming from Another Cool Journal . She lives in West Lafayette where she teaches high school English.

I SUBMITTED! NOW WHAT?

Congratulations! Even if your work is not selected by the particular lit mag you submitted to, you are putting your work out in the world. At this point, you wait. Response times vary widely, from several weeks to up to a year (or more). Many magazines have submission guidelines indicating about how long you should expect to wait to hear back. Some will also ask that they not be contacted with an inquiry about your submission until a certain amount of time has passed.

During the waiting process, don’t let your writing life be put on hold! A common saying in the journalistic field applies here: “Work is never finished, it just meets deadline.” Feel free to continue shaping the writing projects you submitted, or leave them until you hear back from journals and allow yourself to start writing in new directions.

REJECTION LETTERS: TWO TYPES + EXAMPLES

Generally speaking, there are two different types of rejection letters a lit mag can give, and—perhaps surprisingly—one of these is actually good news. The first type is a form rejection letter. This is a generic rejection, meaning this letter is copy and pasted to each person who receives it (with the exception of changing the submitter’s name and the title of their submitted work). A form rejection might look like this:

Dear A. Writer,

Thank you for submitting “Exciting Poem 1,” “Clever Poem 2,” and “Memorable Poem 3” to Coffee Journal . Unfortunately, we decided your work was not a fit for us at this time.

Sincerely,

The Editors

A personalized rejection, on the other hand, while still a rejection, often includes some kind of encouragement. Two different examples, followed by an explanation of why a personalized rejection is good news, follows:

Thank you for submitting “Exciting Poem 1,” “Clever Poem 2,” and “Memorable Poem 3” to Coffee Journal . While we are not able to find a place for it at this time, we found your work exciting and greatly enjoyed reading it. We would look forward to reading more of your writing in the future.

Thank you for submitting to Coffee Journal . Though we have decided against publishing your work at this time, we found “Clever Poem 2” particularly moving. Please keep up in mind for future work.

On the outset, the form rejection letter and the personalized rejection letters don’t have much of a difference. But take heart: That extra line in the personalized rejection letters is a big deal. Anything such as an invitation to resubmit, a specific, encouraging note about your work, and / or commentary about your specific pieces or writing are signs your rejection was personalized rather than a form rejection. This means that out of the large amount of work that journal received, while your work wasn’t part of the teeny percentage chosen for publication, it stood out to the editors. It’s not a bad idea to consider submitting again a future reading period for that lit mag; if you do so, consider adding a note in your cover letter that you’ve been encouraged to resubmit.

DEALING WITH REJECTION

In an interview with Michigan Quarterly Review , poet Hannah Ensor spoke well on creative writing awards (and, perhaps by extension, publication): “I think that it means a lot when you do win, but it means almost nothing when you don’t.”

In a world where editors and readers for lit mags are swimming in submissions, a rejection is not so much a condemnation of your work as a “out of the 100 pieces we received, this is not one of the five we are able to accept.” This isn’t to say that rejection doesn’t sting; no one likes getting turned down. For better or worse, rejection is simply part of the process.

Further, being rejected from a particular journal is not necessarily a suggestion that your work isn’t a good fit for the journal; much is up to chance in terms of who first reads your work. Many lit mags, especially larger ones, have teams of readers that will curate a small portion of submissions for more serious consideration by the section or genre editor(s). Your submission to Coffee Journal this year may be read by a completely different set of eyes than last year.

Finally, consider the following positive spins on rejection:

Rejection is an invitation to keep writing. On the one hand, it’s an opportunity to return to your work: What might be revised? How might you make your work come more fully into its own? On the other hand, it can be an opportunity to dive into something new, with all the knowledge and experience you’ve now gained from writing what you’ve already written. (If having writing that never gets published is a depressing thought, consider this encouragement by accomplished writer Anne Lamott in an essay of hers embracing the messiness of first drafts: “Just get it all down on paper, because there may be something great in those six crazy pages that you would never have gotten to by more rational, grown-up means. There may be something in the very last line of the very last paragraph on page six that you just love, that is so beautiful or wild that you now know what you’re supposed to be writing about, more or less, or in what direction you might go – but there was no way to get to this without first getting through the first five and a half pages.”)
Rejection is an opportunity to revisit why you write in the first place. Why did you write that story, that poem, that essay in the first place? Rejection can provide a tangible time to revisit your “Why?” as a writer. If you’re writing for the money and you’ve gotten numerous rejections from paid awards, perhaps writing is not the most prudent path forward. If you’re writing because you feel you have something to say, because you love language, because it’s a way for you to discover what you’re thinking and how you feel about the world, well…rejection can’t touch those motivations. Remind yourself why you got into writing in the first place and keep at it.

ACCEPTANCE LETTERS: YOU’RE IN! WHAT’S NEXT?

The purpose of acceptance letters is simple. You’re in! Like a job offer, an acceptance letter from a lit mag means you have an offer for publication—they want you if you want them. After your work is accepted, there a few things that will happen:

You will need to read and sign a contract detailing:
What the lit mag needs from you (such as an updated bio) between that moment and publication.
What happens with the rights of your creative work ( this page by Poets & Writers details copyright information in more depth).
What compensation you will be provided with (if applicable).
You may correspond with an editor from the journal to perform final edits and/or revisions of your creative piece(s).
You may need to submit an updated author information, such as a bio, and/or a finalized version of your creative piece(s).
You need, if applicable, to immediately withdraw the work that is being published from any other lit mags you submitted it to. This is generally done by contacting the magazines through Submittable or by emailing the editors—lit mags’ Submissions page will generally clarify how they’d like to be notified if you need to withdraw part or all of your submission.

EXAMPLE ACCEPTANCE LETTER

Thank you for sending us “Exciting Title Number 1” and “Memorable Title Number 3.” We greatly enjoyed both of them and would like to publish them in Coffee Journal ’s next edition.

As per our submission guidelines, we offer three free copies of the edition in which your work appears. Please click here to confirm acceptance.

Thank you for sending your work! We look forward to hearing from you.

Audrey Li

Coffee Journal Poetry Editor

Just a few things to note, here:

Getting an acceptance does not necessarily mean the journal is accepting every piece of work your sent; it simply means they are accepting one (or more) of your pieces.
Generally, acceptance letters are more personalized; the magazine has chosen your work and is eager to make a good impression on you just as you’ve made a good impression on them. In this vein, acceptance letters are generally sent from the particular editor who chose your work or oversees your genre, whereas a rejection letter is often from the unnamed “Editors”.

CLOSING THOUGHTS

Submitting work can be any number of things: exciting, gut-wrenching, confusing, tedious. Regardless of your personal attachment to—or detachment from—the submission process, it’s an important process to understand as a creative writer. Even though the odds may be that a rejection is much more likely than an acceptance, you never know unless you try.

Imagine if the writer of your own favorite book never took the chance to submit it for publication in the first place. Thank goodness they did take that chance so their writing could change you and others—in however big or small a way. This chance, submitting work for publication, is one that you can take, too.

Best of luck, and happy submitting!

ADDITIONAL RESOURCES

Submission Etiquette: The Cincinnati Review has a short, helpful article on submission reminders.

Writing Cover Letters: The Adroit Journal has a great piece explaining the ins and outs of cover letter writing.

Submission Opportunities: Driftwood Press: Where Else to Submit

The Invisible Art of Literary Editing : an in-depth look into the inner workings of literary magazines.

Submittable : a common platform lit mags will request submissions through.

REFERENCES

Jenkins, Marlin M. Somatic Pinging: An Interview with Hannah Ensor, Michigan Quarterly Review Blog, Mar 25, 2019, https://sites.lsa.umich.edu/mqr/2019/03/somatic-pinging-an-interview-with-hannah-ensor/ .

Lamott, Anne. "Shitty First Drafts.” Language Awareness: Readings for College Writers. Ed. by Paul Eschholz, Alfred Rosa, and Virginia Clark. 9th ed. Boston: Bedford/St. Martin’s, 2005: 93-96.

Free Journalism Essay Examples & Topics

A journalism essay is a type of paper that combines personal records and reports. Besides news and facts, it should contain a story. An angle that creates a unique narrative of the events you are describing is crucial. However, let’s start with the definition.

No matter how often people hear about journalism, they still might get confused about what it is. It is an act of informative writing about news stories. It can be digital and non-digital, print and non-print. Journalists strive to present information in an interesting way while staying true to the source.

If you have seen journalistic article examples, you know there are two types. News can cover “hard stories”, meaning world events and politics, and “softer stories” about celebrities, science, etc. Journalism as a profession is multidimensional in nature. It can include texts, photography, interviews, and more. Content varies between different categories, such as literary reportage and yellow journalism.

Here, our experts have combined tips about how to write a good journalistic essay. We gathered information that will be useful for starting research and completing it. Moreover, you will find journalism topic ideas. You can use them for inspiration or to practice. Finally, underneath the article you will discover some stellar journalistic essay examples written by other students.

How to Write a Journalistic Essay

In this section, you’ll find tips that can help you start writing. However, nothing is more vital than choosing an appropriate journalism essay topic beforehand.

Before picking the subject, ask yourself several questions:

What themes do I want to explore?
What will my story be about?
What points do I want to make?
What is my attitude towards the topic?

Answering these questions can allow you to improve your storytelling. What’s more, look for one that can allow you to write intimately. Personal touches and views will influence your paper immensely. With all that in mind, try our free topic generator to get more ideas.

To write an outstanding journalistic essay, you should try these tips:

Gather facts and references first.

Collect all the information you may need for your paper. For a story in journalism, you may be required to interview people or visit a location. Most importantly, you’ll have to research online. Also, you can read stories written by other people on the Internet to gain a better perspective.

Organize your ideas and arguments before writing.

A good story is always organized. The structure of a journalistic should represent an inverted pyramid. The most crucial facts appear on the top, less important details go further, and extra information stays on the bottom. You can reflect in your writing. Organize all your arguments before writing, sticking to a logical structure.

Rely on storytelling.

The story should become the main focus of your work. The writing should serve it and grab the reader’s attention from the start. Think about storytelling techniques that can keep your reader interested till the very end.

Work on your style and language.

Another essential technique to keep your work both logical and engaging is to write in short sentences. If you search for any journalistic writing examples, you’ll see that’s how journalists write. The main goal of your paper is to deliver a clear and strong message. So, working on your style is going to help you further this agenda.

21 Journalism Essay Topics

There are so many journalism topics you can write about, and it can sometimes be challenging to stick to one. If you are still unsure what to describe and explore in your paper, this section can help you make this choice.

Here are some original journalism topic ideas:

The way race impacts the news in different states in the US.
Super Bowl as a phenomenon is more important than the game.
Why people refuse to believe in climate change.
How have sports changed international politics?
Is creative writing in high school an essential subject?
How vital is transparency in broadcast journalism?
Is media responsible for the Covid-19 crisis in the US?
Journalism as a profession can help change the world.
A privacy issue between British journalism and the royal family.
Are social media and blogging the future of journalism?
The role of religion and race in Hollywood.
Why has the Chinese economy risen so much over the past decade?
How can media help in battling poverty in developing countries?
Can music be used as political propaganda?
Connections between social media and depression.
Should mobile phones be allowed in educational institutions?
Has the Internet impacted the way how newspapers and articles are written?
Should fake news be banned on social media?
What are the biggest challenges of investigative journalism?
Can reality television be viewed as a type of journalism?
How can athletes impact social awareness?

Thank you for reading the article! We hope you will find it helpful. Do not hesitate to share this article or a list of journalism essay examples with others. Good luck with your assignment!

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The Literary Journalist as a Naturalist

Pablo Calvi 0

School of Communication and Journalism, Stony Brook University, New York, USA

You can also search for this editor in PubMed Google Scholar

Provides a global perspective of literary journalism and environmental issues spanning five continents
Explores why certain masterpieces of nature writing have not led to more significant collective action
Analyses the works of diverse authors, providing a rich tapestry of perspectives on environmental issues

Part of the book series: Palgrave Studies in Literary Journalism (PSLJ)

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About this book

This book is a scholarly anthology that proposes a deep discussion about the multiple ways in which narrative journalism has portrayed nature, human interactions with nature, the global actions and the consequences of activities that have either attempted to explore it, exploit it, harness it, dominate it, and protect it. This essay collection offers an academic framework for literary journalistic narratives about nature and includes the study of long form journalism originated in different corners of the world, all exploring human-non human-nature interactions in all their power, finitude, peril and urgency.

environmental activism
social ecology
environmental movement
climate crisis
silent spring
jacques leslie
david attenborough

“This volume presents powerful proof that, with its unique capacity to uncover and contextualize the facts of its stories while combining those facts with feelings, literary journalism brings to light like no other genre the complex entanglements of the human and more-than-human worlds, offering hope for the sort of radical change the current environmental emergency demands.”( Robert Alexander, Associate Professor in English language and Literature, Brock University, Canada)

Editors and Affiliations

Pablo Calvi

About the editor

Pablo Calvi is an Argentine-American writer and journalist. His long form, which appears in The Believer , Guernica Magazine, The Nation, and El Mercurio (Chile), has been listed as notable in Best American Essays , Best American Travel Writing and Best American Nonrequired Reading . He is author of Latin American Adventures in Literary Journalism (2019), a cultural history of literary journalism in the Americas. He teaches global journalism at Stony Brook University, USA, where he is the associate director for Latin America at the Marie Colvin Center for International Reporting.

Bibliographic Information

Book Title : The Literary Journalist as a Naturalist

Editors : Pablo Calvi

Series Title : Palgrave Studies in Literary Journalism

Publisher : Palgrave Macmillan Cham

eBook Packages : Literature, Cultural and Media Studies , Literature, Cultural and Media Studies (R0)

Copyright Information : The Editor(s) (if applicable) and The Author(s), under exclusive license to Springer Nature Switzerland AG 2025

Hardcover ISBN : 978-3-031-56633-2 Due: 08 January 2025

Softcover ISBN : 978-3-031-56636-3 Due: 08 January 2026

eBook ISBN : 978-3-031-56634-9 Due: 08 January 2025

Series ISSN : 2731-9539

Series E-ISSN : 2731-9547

Edition Number : 1

Number of Pages : X, 326

Number of Illustrations : 1 b/w illustrations, 3 illustrations in colour

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The Literary Journalist as a Naturalist
Pablo Calvi is an Argentine-American writer and journalist. His long form, which appears in The Believer, Guernica Magazine, The Nation, and El Mercurio (Chile), has been listed as notable in Best American Essays, Best American Travel Writing and Best American Nonrequired Reading. He is author of Latin American Adventures in Literary Journalism ...
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9 Amazing Literary Journalism Articles

Dee Dee Wanted Her Daughter To Be Sick, Gypsy Wanted Her Mom To Be Murdered by Michelle Dean for Buzzfeed

A Murder Untold: Unravelling the ultimate political conspiracy by David Grann for The New Yorker

Ghost Boat by Eric Reidy for Medium

Trial by Twitter by Holly Millea for Elle

Framed: She Was The PTA Mom Everyone Knew. Who Would Want to Harm Her? by Christopher Goffard for L.A. Times

‘I’m No Longer Afraid’: 35 Women Tell Their Stories About Being Assaulted by Bill Cosby, and the Culture That Wouldn’t Listen by Noreen Malone for The New Yorker

Whatsoever Things Are True by Matthew Shaer for Atavist

Troll Detective: Who Set Jessica Chambers on Fire? The internet is trying to find out by Katie Baker for Buzzfeed

The Price of Nice Nails by Sarah Maslin Nir for The New York Times

What do you think about these articles? Is there a compelling piece of literary journalism you love and think I should read? Let me know!!

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