4.3 Different Styles and Models of Journalism

The Rise of Objective Journalism

At the end of the 19th century, The New York Times found itself competing with the papers of Pulitzer and Hearst. The paper’s publishers discovered that it was nearly impossible to stay afloat without using the sensationalist headlines popularized by its competitors. Although The New York Times publishers raised prices to pay the bills, the higher charge led to declining readership, and soon the paper went bankrupt. Adolph Ochs, owner of the once-failing Chattanooga Times, took a gamble and bought The New York Times in 1896. On August 18 of that year, Ochs made a bold move and announced that the paper would no longer follow the sensationalist style that made Pulitzer and Hearst famous, but instead would be “clean, dignified, trustworthy and impartial (New York Times, 1935).”

This drastic change proved to be a success. The New York Times became the first of many papers to demonstrate that the press could be “economically as well as ethically successful (New York Times, 1935).” With the help of managing editor Carr Van Anda, the new motto “All the News That’s Fit to Print,” and lowered prices, The New York Times quickly turned into one of the most profitable impartial papers of all time. Since the newspaper’s successful turnaround, publications around the world have followed The New York Times’ objective journalistic style, demanding that reporters maintain a neutral voice in their writing.

The Inverted Pyramid Style

One commonly employed technique in modern journalism is the inverted pyramid style. This style requires objectivity and involves structuring a story so that the most important details are listed first for ease of reading. In the inverted pyramid format, the most fundamental facts of a story—typically the who, what, when, where, and why—appear at the top in the lead paragraph, with nonessential information in subsequent paragraphs. The style arose as a product of the telegraph. The inverted pyramid proved useful when telegraph connections failed in the middle of transmission; the editor still had the most important information at the beginning. Similarly, editors could quickly delete content from the bottom up to meet time and space requirements (Scanlan, 2003).

The reason for such writing is threefold. First, the style is helpful for writers, as this type of reporting is somewhat easier to complete in the short deadlines imposed on journalists, particularly in today’s fast-paced news business. Second, the style benefits editors who can, if necessary, quickly cut the story from the bottom without losing vital information. Finally, the style keeps in mind traditional readers, most of who skim articles or only read a few paragraphs, but they can still learn most of the important information from this quick read.

Competition From Broadcasting

The 1930s also saw the rise of broadcasting as radios became common in most U.S. households and as sound–picture recordings for newsreels became increasingly common. This broadcasting revolution introduced new dimensions to journalism. Scholar Michael Schudson has noted that broadcast news “reflect[ed]…a new journalistic reality. The journalist, no longer merely the relayer of documents and messages, ha[d] become the interpreter of the news (Schudson, 1982).” However, just as radio furthered the interpretive journalistic style, it also created a new problem for print journalism, particularly newspapers.

Suddenly, free news from the radio offered competition to the pay news of newspapers. Scholar Robert W. McChesney has observed that, in the 1930s, “many elements of the newspaper industry opposed commercial broadcasting, often out of fear of losing ad revenues and circulation to the broadcasters (McChesney, 1992).” This fear led to a media war as papers claimed that radio was stealing their print stories. Radio outlets, however, believed they had equal right to news stories. According to Robert W. McChesney, “commercial broadcasters located their industry next to the newspaper industry as an icon of American freedom and culture (McChesney, 1992).” The debate had a major effect on interpretive journalism as radio and newspapers had to make decisions about whether to use an objective or interpretive format to remain competitive with each other.

The emergence of television during the 1950s created even more competition for newspapers. In response, paper publishers increased opinion-based articles, and many added what became known as op-ed pages. An op-ed page—short for opposite the editorial page—features opinion-based columns typically produced by a writer or writers unaffiliated with the paper’s editorial board. As op-ed pages grew, so did interpretive journalism. Distinct from news stories, editors and columnists presented opinions on a regular basis. By the 1960s, the interpretive style of reporting had begun to replace the older descriptive style (Patterson, 2002).

Important Literary Journalists

Tom Wolfe was the first reporter to write in the literary journalistic style. In 1963, while his newspaper, New York’s Herald Tribune, was on strike, Esquire magazine hired Wolfe to write an article on customized cars. Wolfe gathered the facts but struggled to turn his collected information into a written piece. His managing editor, Byron Dobell, suggested that he type up his notes so that Esquire could hire another writer to complete the article. Wolfe typed up a 49-page document that described his research and what he wanted to include in the story and sent it to Dobell. Dobell was so impressed by this piece that he simply deleted the “Dear Byron” at the top of the letter and published the rest of Wolfe’s letter in its entirety under the headline “There Goes (Varoom! Varoom!) That Kandy-Kolored Tangerine-Flake Streamline Baby.” The article was a great success, and Wolfe, in time, became known as the father of new journalism. When he later returned to work at the Herald Tribune, Wolfe brought with him this new style, “fusing the stylistic features of fiction and the reportorial obligations of journalism (Kallan, 1992).”

Truman Capote responded to Wolfe’s new style by writing In Cold Blood, which Capote termed a “nonfiction novel,” in 1966 (Plimpton, 1966). The tale of an actual murder that had taken place on a Kansas farm some years earlier, the novel was based on numerous interviews and painstaking research. Capote claimed that he wrote the book because he wanted to exchange his “self-creative world…for the everyday objective world we all inhabit (Plimpton, 1966).” The book was praised for its straightforward, journalistic style. New York Times writer George Plimpton claimed that the book “is remarkable for its objectivity—nowhere, despite his involvement, does the author intrude (Plimpton, 1966).” After In Cold Blood was finished, Capote criticized Wolfe’s style in an interview, commenting that Wolfe “[has] nothing to do with creative journalism,” by claiming that Wolfe did not have the appropriate fiction-writing expertise (Plimpton, 1966). Despite the tension between these two writers, today they are remembered for giving rise to a similar style in varying genres.

The Effects of Literary Journalism

Although literary journalism certainly affected newspaper reporting styles, it had a much greater impact on the magazine industry. Because they were bound by fewer restrictions on length and deadlines, magazines were more likely to publish this new writing style than were newspapers. Indeed, during the 1960s and 1970s, authors simulating the styles of both Wolfe and Capote flooded magazines such as Esquire and The New Yorker with articles.

Literary journalism also significantly influenced objective journalism. Many literary journalists believed that objectivity limited their ability to critique a story or a writer. Some claimed that objectivity in writing is impossible, as all journalists are somehow swayed by their own personal histories. Still others, including Wolfe, argued that objective journalism conveyed a “limited conception of the ‘facts,’” which “often effected an inaccurate, incomplete story that precluded readers from exercising informed judgment (Kallan).”

Advocacy Journalism and Precision Journalism

The reactions of literary journalists to objective journalism encouraged the growth of two more types of journalism: advocacy journalism and precision journalism. Advocacy journalists promote a particular cause and intentionally adopt a biased, nonobjective viewpoint to do so effectively. However, serious advocate journalists adhere to strict guidelines, as “an advocate journalist is not the same as being an activist” according to journalist Sue Careless (Careless, 2000). In an article discussing advocacy journalism, Careless contrasted the role of an advocate journalist with the role of an activist. She encourages future advocate journalists by saying the following:

A journalist writing for the advocacy press should practice the same skills as any journalist. You don’t fabricate or falsify. If you do you will destroy the credibility of both yourself as a working journalist and the cause you care so much about. News should never be propaganda. You don’t fudge or suppress vital facts or present half-truths (Careless, 2000).

Despite the challenges and potential pitfalls inherent to advocacy journalism, this type of journalism has increased in popularity over the past several years. In 2007, USA Today reporter Peter Johnson stated, “Increasingly, journalists and talk-show hosts want to ‘own’ a niche issue or problem, find ways to solve it, and be associated with making this world a better place (Johnson, 2007).” In this manner, journalists across the world are employing the advocacy style to highlight issues they care about.

Precision journalism emerged in the 1970s. In this form, journalists turn to polls and studies to strengthen the accuracy of their articles. Philip Meyer, commonly acknowledged as the father of precision journalism, says that his intent is to “encourage my colleagues in journalism to apply the principles of scientific method to their tasks of gathering and presenting the news (Meyer, 2002).” This type of journalism adds a new layer to objectivity in reporting, as articles no longer need to rely solely on anecdotal evidence; journalists can employ hard facts and figures to support their assertions. An example of precision journalism would be an article on voting patterns in a presidential election that cites data from exit polls. Precision journalism has become more popular as computers have become more prevalent. Many journalists currently use this type of writing.

The Underground Press

Some niche papers are part of the underground press. Popularized in the 1960s and 1970s as individuals sought to publish articles documenting their perception of social tensions and inequalities, the underground press typically caters to alternative and countercultural groups. Most of these papers are published on small budgets. Perhaps the most famous underground paper is New York’s Pulitzer Prize–winning Village Voice. This newspaper was founded in 1955 and declares its role in the publishing industry by saying:

The Village Voice introduced free-form, high-spirited and passionate journalism into the public discourse. As the nation’s first and largest alternative newsweekly, the Voice maintains the same tradition of no-holds-barred reporting and criticism it first embraced when it began publishing fifty years ago (Village Voice).

Despite their at-times shoestring budgets, underground papers serve an important role in the media. By offering an alternative perspective to stories and by reaching out to niche groups through their writing, underground-press newspapers fill a unique need within the larger media marketplace. As journalism has evolved over the years, newspapers have adapted to serve the changing demands of readers.