Let’s be real for a second: writing a news report is like building a bookshelf—follow the instructions, put the most important bits at the top, and you’re done. But Feature Writing? That’s more like interior design. It requires flair, a sense of rhythm, and the ability to make a reader care about a subject they didn’t even know existed five minutes ago.
Below is the exam paper download link
Download Past Paper On Features And Magazine Writing For Revision
Above is the exam paper download link
If you’re staring down a Features and Magazine Writing exam, you’re probably wondering how on earth you’re supposed to “be creative” under a ticking clock. The secret isn’t waiting for a lightning bolt of inspiration; it’s understanding the structural “bones” that examiners are looking for.
To help you get into the headspace of an editor, I’ve tackled the most common hurdles found in recent exam papers below.
Revision Q&A: Mastering the Feature
Q1: Every past paper asks about “The Hook.” How do I write one that doesn’t feel cheesy?
A: Avoid the “Imagine this…” cliché. Examiners see that a thousand times a day. Instead, try starting in media res (in the middle of the action) or with a startling, counter-intuitive statistic. A great hook isn’t just a fancy sentence; it’s a promise to the reader that the next 1,000 words will be worth their time. If you can’t summarize your hook’s “vibe” in three words, it’s probably too muddy.
Q2: What is the difference between an “Inverted Pyramid” and the “Nut Graph”?
A: This is a classic exam trap. News uses the Inverted Pyramid (most important info first). Features use the Nut Graph. This is a paragraph, usually following a colorful anecdote, that explains exactly what the story is about and why it matters now. If your practice feature doesn’t have a Nut Graph by the third or fourth paragraph, you’re likely writing an essay, not a magazine piece.
Q3: How do I handle “Tone” when the prompt asks for a lifestyle piece vs. an investigative profile?
A: Think about your “voice” as a volume knob. For a lifestyle piece, you’re the knowledgeable friend—warm, accessible, and heavy on sensory details (the smell of the coffee, the grit of the pavement). For an investigative profile, you’re the objective observer—clipped sentences, heavy on facts, and skeptical of PR spin. Always check the “Publication” mentioned in the prompt. Writing for Vogue is a world away from writing for The Economist.
Q4: Past papers often mention “Show, Don’t Tell.” Is there a shortcut for this in an exam?
A: Use active verbs and specific nouns. Don’t write “The man was nervous.” Write “He tapped a rhythmic, frantic beat on the mahogany desk.” Descriptive writing isn’t about using more adjectives; it’s about choosing better verbs. Examiners look for these “micro-moments” of observation to separate the A-students from the rest.
Get the Real Thing: Download the Revision Paper
Theory is great, but you need to see the prompts for yourself. How do they phrase the word count requirements? What kind of “Briefs” do they give you to work with?
I’ve put together a curated PDF of past exam questions and mock briefs specifically designed to test your versatility across different magazine niches.
(Insert your download link here)
Three “Gold Medal” Tips for Your Final Push
The Sidebar Trick: Many top-tier marks are given for “Presentation.” If the prompt allows, sketch out a “sidebar” or a “pull-quote” box. It shows you understand how magazines actually look on the page.
Interview Techniques: If a question asks how you’d prepare for a profile, don’t just say “ask questions.” Mention “pre-interview research,” “open-ended prompts,” and “observing the subject’s environment.”
The Ending: Never just fade out. A great feature circles back to the beginning. If you started with a person, end with that same person. It gives the reader a sense of “narrative closure.”
