IMPERSONALITY
News writing is objective to the last degree, in the sense that the writer is not allowed to “editorialize.” He must leave himself out of the story. True, he may give it, in his way of telling the facts, a certain individuality and power, but he is not permitted to cross the border line between the strict presentation of news and the editorial. Only writers whose stories are signed are allowed to use the capital I. They are the exceptions in modern newspaper making. The average news writer, however brilliant his work, receives only the commendation of his fellows. It is for this he strives, and the satisfaction that comes of work well done, rather than for public recognition. Always in the middle of things, close to history in the making,—and that is one of the fascinations of the “game”—the newspaper man must yet remain in the background. The story is the big, the vital thing. In it, for the time being, he is willing to sink his personality.
The age of personal journalism in its old sense has passed. In the new era the writer’s personality counts for just as much, or more, but he must use it wholly as an instrument belonging to his newspaper and the public. It is not meant by this that he must work always by rule and line, but that he must refrain from coloring his story with his personal prejudices and opinions. Even the “we” of the editorial columns is fast being discarded for a more impersonal form. Most city newspapers now avoid it altogether and the same tendency is seen in the more enterprising country journals. It is still used in a large number of papers published in the rural districts, both editorially and in the news sections, but these are gossipy neighborhood chronicles rather than newspapers in the modern understanding of the word.
Impersonal writing does not consist alone in the omission of “we” and “I.” Avoid generalities that are likely to imply approval or disapproval on the part of the writer. If Smith was killed by a neighbor, tell when and where and how he was killed. Don’t generalize by saying, “A dastardly crime was committed.” If your story is pathetic it is not necessary to tell the reader so. Let him find it out from the simple, human facts. In describing a pretty girl, don’t stop with saying she is pretty; tell how she is pretty—tell the color of her hair and eyes.
Strive always to be specific. With this in mind you are not likely to stray far from the impersonal.
GOOD TASTE
Cultivate good taste in news writing, as in all kinds of writing. Your story is read by the woman in the home as well as by the man on the street. Leave out all revolting details and think twice before you use a word or an expression of doubtful propriety. Good taste distinguishes the story written carefully, with its possible effect on the reader’s sensibilities in mind, from the story that runs recklessly into paths avoided in conversation.
Never use cheap slang. One kind of slang, that which is clean-cut and expressive, without taint of vulgarity, may afford a legitimate short-cut in news writing as in speech. An expression of this type, if it persists in the language, ultimately finds a place in the dictionary. It is the other kind of slang, the vulgar or silly, against which the news writer must be on his guard.
Horrible details are not wanted by the well-edited newspaper. Leave out the three buckets of blood. The word “blood” in itself brings an unpleasant picture before the reader and may shock a person of delicate sensibilities. Most newspapers caution their writers against its overuse.
Certain things are glossed over in our daily speech. This is true in ever greater degree of the newspapers. Horace Greeley said that what Providence permitted to happen he wasn’t too proud to report. That is not the working principle of the modern newspaper, which omits some things and edits others. The moral obligation of the newspaper to its readers, as well as good taste, demands the pruning down of some classes of news. “All the News That’s Fit to Print” implies this obligation.