台灣的報導文學受到日治年代楊逵倡議的「報告文學」、中國左翼作家主張的「報告文學」以及1970年代美國「新新聞」寫作的影響；同時也融合了部分社會主義、部分資本主義思潮的滲浸。多源頭、多樣性的發展，使得1970年後報導文學的書寫內容豐饒多汁，其書寫策略也更加多樣、繁複。本文以報導文學佳作進行文本分析，發現當代台灣報導文學之書寫策略有四：（一）多以散文形式出之；（二）敘事情節環環相扣；（三）對話與敘述相輔相成；（四）營造情境烘托事實。本文建議，新的報導文學書寫策略可朝三個方向思考：（一）內容除悲劇敘事外，可開拓傳奇的、喜劇的或諷刺的敘事模式，展現報導文學內容的多樣性。（二）形式宜多方嘗試，跨越文類，除散文外，可向小說敘事取火。（三）結構可挪用戲劇、電影的分場、分景方式為之，彰顯報導內容之戲劇效果。

Taiwanese reportage was first initiated by Yang Kui (楊逵) during Japanese colonial rule, and was influenced by Chinese Baogao Wenxue (報告文學) that was advocated by Left-wing writers. Later on, American New Journalism also impacted on Taiwanese reportage writing during 1980s. Meanwhile, socialism and capitalism both have influence over the development of Taiwanese reportage. Due to the diverse influences and reception, thereafter, Taiwanese reportage writing can be described as rich and colorful after 1970s. In this paper, there are four findings referring to the writing strategies of Taiwanese reportage based on the analysis of some excellent contemporary reportage works: 1. essay is the mostly used narrative pattern; 2. emplotment is closely connected and inseparable; 3. dialogue and narrative are complementary to each other; 4. atmosphere is build up to support a fact. In sum, according to the findings, this paper suggests that the later Taiwanese reportage writing can take following three strategies into consideration: 1. legendary, comical or ironic narrative patterns can be used besides tragic narration; 2. fictional narrative pattern can be borrowed as a cross-genre approach; 3. step-outline that is used in plays and movies can be applied to signalizing the dramatic effect of reportage content.