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. Research for background provides a strong foundation for the story and your interviews. As for writing the story, there are some tips for that part of the profile assignment also." Do not write in chronology only. Select a strong focus for your article." Do not drift." Do not jumble your facts together." Use good transitions to connect the pieces." Above all, do not forget your nut graf.John A. Limpert, The Washingtonian magazine editor, says beginning profile writers often make poor decisions in approaching their craft. Because they are big part of the magazine writing and editing, Limpert says it is important to avoid these basic mistakes:Thinking it's an easy payday. When writers tell me they like to write profiles, it sets off warning bells. Often they mean an easy personality piece from a quickie interview. Bestselling author Judith Viorst was one of our best profile writers. She would first read about the subject, then call the subject and say: "I'd like to do a story on you. I've read a lot about you. Before we talk, can you give me the names of people who know you well, both friends and enemies?" Famed trial lawyer Edward Bennett Williams said he never asked a question in court he didn't know the Page 201answer to~ writers should know most of the answers before they start asking the questions of the profile subject.Loving the subject too much. In a variation of the Stockholm Syndrome, in which hostages begin to identify with their captors, some profile writers develop too much empathy with their subjects. When it comes time to write the profile, the writer worries more about the profile subject than the reader. The writer has to make a shift in mindset after the research: When you sit down to write, your loyalty is to the reader. You owe the reader a cleareyed, professional look at the subject, and you can't worry about pleasing or displeasing the subject.Hating the subject too much. Again, you owe the reader a cleareyed look even if the subject has been difficult to deal with or runs into one of your biases.Trying to be too clever. Some writers try to cover up weak research or a dull subject with very clever writing. It's harder to fool readers than many writers think. A good editor has a sensitive BS detector and won't let you get away with it. A corollary: Write about sophisticated ideas in simple language, not the other way around.Giving up when the subject won't cooperate. Some of our best profiles were done on people who wouldn't talk to us. It takes a lot of smart reporting to do this kind of piece, and, again, don't let the subject's feelings toward you poison your attitude, but the lack of cooperation allows you more freedom to make judgments and draw conclusions. And we've often found that uncooperative subjects become cooperative when they realize we're going to do a good reporting piece on them whether they talk or not.Not thinking enough about how you're going to get the reader into the subject. Leads usually a good scene or anecdote are important, but also think about what kind of headline, art, captions, and pull quotations the story needs. Editors appreciate suggestions (but not demands). If you were the reader, what in the story would interest you the most? Suggest that these points be highlighted. Many readers graze through publications, looking for a picture or caption or headline or pull quote that interests them. Then they may read your story.Not protecting your reputation. Some writers try to build a fast name for themselves by doing what we call "hit" pieces. It's the Page 202journalistic equivalent of an assassination. I've seen it work for some writers for brief periods of time, but media subjects are getting more sophisticated. Before they talk to you, the subjects will do some checking: How fair are you? How accurate are you? Is your main goal to leave a lot of blood on the floor? Conversely, some tough profile subjects will talk to you if you send them copies of stories you've done along with a letter explaining what a fair, thorough, knowledgeable writer you are. (Limpert, 1993, personal communication) Page 2038 Seasonal FeaturesWhen you think of seasons, perhaps you think of the weather. Or sports. Maybe food. Perhaps special clothing. Or the holidays. Or vacations. Or family gatherings. There are many different types of seasons, and people associate as many or even more different activities and traditions with them. We often associate vacation camp with summer, for example. In the spring each year, typically, many newspapers and certain magazines devote attention to summer camps. As part of this annual activity, parents and children spend countless winter hours talking about camps and deciding what they will do that upcoming summer
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