Newspaper Writing and Editing

by Willard Grosvenor Bleyer

Originality. Originality of expression in newspaper work is the quality that distinguishes the good writer from the fair and the mediocre ones. Constant rapid writing on similar subjects leads to the use of the same words and phrases over and over again. Trite, hackneyed expressions can be used with less effort and greater rapidity than is required to find new and fresh phrases, unless the writer has accustomed himself to think clearly and accurately in concrete, specific terms. The only way that the newspaper writer can make his work rise above the level of the average is by seeing more in persons and events than does the ordinary reporter and by expressing what he sees with greater freshness and individuality. The classic bit of advice given by Flaubert to De Maupassant, the French master of the short story, is of the greatest value to the newspaper reporter who would cultivate in his style both conciseness and originality. It is in part as follows:

Everything which one desires to express must be looked at with sufficient attention, and during a sufficiently long time, to discover in it some aspect no one has as yet seen or described. The smallest object contains something unknown. Find it.

Whatever one wishes to say, there is only one noun to express it, only one verb to give it life, only one adjective to qualify it. Search, then, till that noun, that verb, that adjective are discovered; never be content with “very nearly”; never have recourse to tricks, however happy; or to buffooneries of language, to avoid a difficulty.

This is the way to become original.

Typographical “Style.” For such details of typographical “style” as capitalization, abbreviation, hyphenation, and use of numerical figures, every newspaper has a set of special rules, generally printed in a so-called “style book,” that are invariably followed by copy-readers and compositors. When a reporter begins work on a newspaper, he should study carefully all these peculiarities, so that he may follow them in preparing his copy. He also should learn as quickly as possible the paper’s printed style rules, or, if there are no printed rules, he should study the news stories as examples of the practice followed in the office. Some newspapers have an “index expurgatorius,” or list of words and phrases to be avoided. These “don’ts” generally embody common errors of diction, but they not infrequently include also some pet aversions of the editor-in-chief, the managing editor, or the city editor, that are matters of preference rather than of good usage. Reporters will do well to observe carefully how their stories are changed by editors and copy-readers, and in all matters of style should make their work conform to the preferences of their superiors.

Paragraph Length. One of the distinctive peculiarities of newspaper style is the brevity of the paragraph. The width of newspaper columns permits about seven words in a line. The result is that a paragraph of the length usual in prose style generally, i.e., from 150 to 250 words, would occupy from 20 to 35 lines and would appear disproportionately long for its width. Paragraphs that are long, or appear to be so, make a piece of writing look solid and heavy, hence uninviting to the rapid reader. In newspaper work, accordingly, it has come to be recognized that shorter paragraphs are more effective. Paragraphs of from 50 to 150 words are considered the normal type for newspaper writing.

This means that often a paragraph, and particularly the first paragraph of a news story, consists of but one sentence. Paragraphs of two or three sentences are very frequent. A comparison of the structure of these short paragraphs with that of paragraphs in other kinds of prose, shows that what would be subdivisions, each with a sub-topic, in the common type of longer paragraphs, become independent paragraphs in newspaper style. The unity of the newspaper paragraph, therefore, is not less marked because of its brevity.

Sentence Length. Journalistic style has sometimes been said to be characterized by short, disconnected sentences that produce a choppy, staccato effect. Kipling, for example, is often described as “journalistic” in his abrupt short-sentence style. As a matter of fact the style of the American news story is marked neither by distinctly short sentences nor by particularly abrupt transitions. The sentences in news stories, on the whole, are as long as those in modern English prose generally. The first sentence of the story, which gives the gist of the news contained, is many times from 50 to 75 words in length, and is therefore to be classed as decidedly long.

Emphatic Beginnings. The emphasis given by initial position is especially important in news stories. The beginning rather than the end is the most emphatic position. The reason is obvious. As the eye glances down the column in reading rapidly, the first group of words in each paragraph stands out prominently. Any climactic effect with the strongest emphasis at the end is lost to the rapid reader unless he follows the development of the thought from sentence to sentence to the close of the paragraph. The important element if placed at the end of a long sentence, likewise, loses its emphasis for a rapid reader.

This principle of emphasis at the beginning determines the structure of the news story. Into the first paragraph, as the place of greatest prominence, is put the most important part of the news. Into the first group of words of the first sentence of each paragraph is placed, if possible, the most significant idea of the paragraph. The least important details go to the latter part of the story, so that unless the reader is particularly interested he need not follow through the account to the end; and so that, if necessary, parts may be cut off entirely without causing any loss that will be evident. The fitting together into columns of stories of different lengths after they are in type often requires that the last paragraph or paragraphs be cut off. This possibility adds to the importance of putting the least significant elements into the latter part of the story, and of concentrating the essentials at the beginning. It also requires that each paragraph be so rounded that it may serve as the end of the story if those following it have to be thrown away.