I woke up this morning to a Twitter feed filled with images of a skinny white woman about to marry a billionaire, Pippa Middleton, sister of the Duchess of Cambridge.
This week, 242 people died of cholera in Yemen.
Guess which got the most attention?
To many people, now, both are journalism — and possibly of equal value.
Not in my book. I’ve done it for a living since 1978.
I’m really weary of watching fellow reporters fawning endlessly over the wealthy and powerful and their private jets and their super-yachts and their pretty lives.
What good does any of this voyeurism offer to a broken world filled with growing income inequality but a reminder that 99.9% of us will never live a life even vaguely resembling this.
All this, as the Trumps and his billionaire Cabinet take millions from other plutocrats to craft policy to make them all even richer.
If you haven’t yet seen Spotlight — which won the Oscar for Best Picture in 2015 — or All The President’s Men — a 1976 film was nominated in that category but that won four other Oscars — do it. Soon!
Spotlight tells the story of a team of reporters at the Boston Globe who uncovered a sex abuse scandal within the Catholic church, for which they received American journalism’s highest honor, the Pulitzer Prize, in 2003. The film makes clear, as does ATPM, that real reporting and journalism that can topple powerful, secretive abusers. It takes time, teamwork and tough editors and reporters who simply refuse to give up once they realize the magnitude of the story, even as it looks impossible to get.
In ATPM, two Washington Post reporters, Carl Bernstein and Bob Woodward — two real people of the same names — bring down President Richard Nixon after months of piecing together disparate facts and crimes, all the way met with denials and resistance. In one great scene that every reporter can identify with, the editor in chief, Ben Bradlee, says, “I have to really trust my reporters. And I hate trusting anyone.”
In our business, serious mistakes can end a career.
In both films, weary, rumpled reporters do what most journalists actually do — knock on dozens of strangers’ doors (often met with resistance or hostility) looking for sources to speak to them and confirm what they have so far learned or suspected, read through reams of paper documents to find the ones that matter, meet with scared, reluctant witnesses to, or victims of, the crimes, trying to persuade them to put the facts “on the record”, i.e. make them public.
Much of true journalism is slow, tedious, quiet, behind the scenes. It can involve a lot of frustration as you hit dead end after dead end, source after source who refuses to help or to comment, fearful for their job, reputation, even their life.
It’s the opposite of fawning over the wealthy and powerful, which so many now see as “journalism.”
As Trump and his family, and associates, continue to prompt more and deeper investigation, remember that it’s the reporting by The New York Times and Washington Post that have brought much of their behaviors to light.
“No man but a blockhead ever wrote, except for money”
— Samuel Johnson (died 1784)
Few subjects will so quickly divide a room than writers talking about how much money they make from their work.
If you write blockbuster fiction, made into Hollywood movies, you might own a lovely home, or several, and shiny new cars.
If you write non-fiction that hits a cultural or political nerve — like over-rated “Hillbilly Elegy” — you might also hit it big.
If you write poetry, you might get “paid” with a copy of the journal that deigned to accept your work.
If you’re a full-time freelance writer, as I am, you probably earn a fairly wide range of fees, unless you’re primarily writing for Hollywood, or the elite tier of top-flight magazines and/or producing a Niagara of material, with very little time off.
There’s also a steady oversupply of people desperate to say: “I’m a writer!”
Blogging doesn’t pay most of us, (unless sponsored.) And yet, blogging here since July 1, 2009, has brought me more than $10,000 in income, teaching my skills to others. (I offer webinars.)
I began writing for money — for national magazines and newspapers — in my second year at university, in Toronto, where I was doing an English degree. It’s the center of Canadian publishing, home to most major newspapers and magazines. I just had to gin up the nerve to start approaching them, and one of the magazine publishing houses was, literally, a block south of campus.
I got my first assignment for a national women’s magazine after writing a furious letter to the editor, asking them to run better material. That editor, (bless her!) called me in for a meeting, and said: “I’d rather have you writing for us than to us.”
Yes, a hugely lucky break.
But I already had two years’ experience writing every week for our demanding university newspaper, so I brought developed skills.
The money I earned writing helped put me through university and paid my rent and groceries, living alone from the age of 19 in an apartment.
That taught me to negotiate for better pay, early and often.
I also overheard an editor pleading with a fellow writer, (a man, older than I), out-earning me for the same kind of weekly column by 50 percent, not to quit.
So when I see — and I see it every day — writers accepting shitty pay, or no pay, and refusing to even try to negotiate for more, or to build their skills to a level they can ask for more and legitimately get it, I lose it.
I also see some Big Name Writers telling the world they have no savings and no money put aside for retirement, as if to glorify the de facto penury of being a writer.
If you have no savings and are perpetually broke, even while earning your full-time living as a writer, consider:
Your skills are weak and no one will pay you properly for them — since so many competitors do it better, or say they can.
You’re unwilling or unable to negotiate higher rates.
You’re living beyond your means, possibly sabotaged by high rent/mortgage in an expensive city; (Toronto, New York, London, San Francisco, Vancouver.)
You didn’t realize that writing for a living is no less serious — and often just about as glamorous — as sanitation work. Just because you enjoy it doesn’t mean it isn’t work. (Sanitation workers, at least, have a union, paid sick days and a pension.)
You haven’t done enough work yet to acquire a consistent track record of achievement, when it’s more reasonable to ask for higher pay rates..
You have a weak or inexperienced network — or people don’t like and trust you enough (yet) to refer you to their decently-paying contacts; most of my work now comes through referrals.
You need to improve your marketing and sales. While people think writing for a living means actually writing, about 75 of my time and energy is spent finding and qualifying new clients.
You need more help with domestic chores or other tasks. It takes time and energy to find well-paid markets for your work, often in addition to teaching.
You write only for low-paying outlets, almost all of them digital, offering $50 or $100 or $300 for long, reported stories, (some writers think this is a lot of money). No one can earn a living at these rates, or work a healthy number of daily/weekly hours to do it. Aim for a higher-paying mix — agency work, print work, non-profit or custom publishing or branded content.
You might need a job, part-time or full-time, until you have a decent financial cushion and can turn down low-ball offers. You can’t refuse lousy jobs and terrible payment if you’re always desperate for the next gig.
You’re too slow! You have to know your minimum hourly rate and stick to it. If you waste time or work inefficiently, you’re cutting into your profit margin. It’s a business!
Caitlin Kelly, an award-winning non-fiction author and frequent contributor to The New York Times, is a New York-based journalist. Her one-on-one webinars and individual coaching, by Skype, phone or in person, have helped writers and bloggers worldwide; details here. Contact: email@example.com.
This week the most coveted awards in journalism were given out, the prizes named for Joseph Pulitzer, a man born in Hungary in 1847 and who became a legendary publisher of major American newspapers; (pronounced Pull-itzer.)
It is a very big deal to win a Pulitzer Prize, both for the writers and photographers who win it for their individual, often team, efforts, but also for their editors and publishers.
It can take decades to win one, or, for the fortunate few, it arrives early in their careers. The photographer who’s won the most ever in journalism, four, is Carol Guzy, of The Washington Post — who began her career as a nurse.
In a time when our industry is struggling mightily — tens of thousands of us having been laid off in recent years — this sort of accolade is still something many of us strive for.
If you stay in journalism a few decades, you come to know, and sometimes work with, and possibly deeply admire, many colleagues, sometimes scattered globally. When they win, we’re also cheering for our tribe.
His award is one of three Pulitzers awarded to the Times this year. Another went to Australian-born, New Delhi-based freelance photographer Daniel Berehulak for breaking news covering the drug war in the Philippines being waged by President Duterte. He also won the award in 2015 for feature photography for documenting the Ebola outbreak.
From his website:
Their Ukrainian practicality did not consider photography to be a viable trade to pursue so at an early age Daniel worked on the farm and at his father’s refrigeration company.
Not so surprising — journalism is still considered a terrible career choice by many parents: it’s professionally insecure, badly paid and sometimes dangerous.
It’s one of the many reasons we, (I’ve been a journalist for decades), are so proud of our colleagues who persist and succeed. It’s damn hard!
In an era of “fake news” and endless claims to the “truth”, we need media literate readers/listeners and viewers more than ever.
And we need smart, tough, determined reporters, whether visual or word-focused, and their editors and their publishers, to stay committed to strong, intelligent work of lasting value —- not just chase clicks and views.
David Farenthhold — we all knew he had this one in the bag — took the prize for National Reporting, on Trump, for The Washington Post.
In 1912, one year after Pulitzer’s death aboard his yacht, the Columbia School of Journalism was founded, and the first Pulitzer Prizes were awarded in 1917 under the supervision of the advisory board to which he had entrusted his mandate. Pulitzer envisioned an advisory board composed principally of newspaper publishers. Others would include the president of Columbia University and scholars, and “persons of distinction who are not journalists or editors.” Today, the 19-member board is composed mainly of leading editors or news executives. Four academics also serve, including the president of Columbia University and the dean of the Columbia Graduate School of Journalism.
Also from the Pulitzer website:
What do Pulitzer Prize winners get when they win?
There are 21 Pulitzer categories. In 20 of those categories the winners receive a $10,000 cash award and a certificate. Only the winner in the Public Service category of the Journalism competition is awarded a gold medal. The Public Service prize is always awarded to a news organization, not an individual, although an individual may be named in the citation.
Selfishly, I have a deeply vested interest in the Pulitzers — as we have one in the family. It belongs to my husband, Jose R. Lopez, whose blog is here.
On 9/11, as fighter jets screamed over Manhattan and the Twin Towers fell, Jose was a team member of talented, fast-thinking, quick-acting New York Times photographers and photo editors covering it.
They won the Pulitzer that year for breaking news photography.
Jose, then a photo editor, (and former news photographer), literally turned his basement Brooklyn apartment, (the very day he was to move in with me and everything was already packed!) into a local Times bureau — scanning and transmitting images from his computer as photographers delivered their film to him.
There was no way to physically get into Manhattan from Brooklyn in time, to reach the Times‘ building that day.
On a day of confusion and terror and trauma, the Times team stayed calm and organized. Their job — our job — always, is to witness, testify, explain, share.
I’ve been slinging words for a living, since my sophomore year of university.
I’ve never formally studied writing, except for a degree from a demanding faculty in English lit.
I originally wanted to be a radio DJ, but knew I wanted to write for a living from a very early age, maybe 12 or so. Over my career, I’ve worked as an editor for three magazines and a reporter for three major daily newspapers, all of which has helped me think more clearly and write (I hope!) better; my website, if you’re interested, has some of my work.
In 1998, I won a National Magazine Award in Canada for a humor essay about, (what else?) my divorce.
I’ve derived so many pleasures from writing, for decades, including:
As Broadside heads into its eighth year, I’m grateful for everyone who makes the time to come by, to read, to comment, and to return, some year after year. I know you’ve got many other ways to spend your time and attention, so thank you!
I first posted here on July 1, 2009, terrified. I write for a living, but thought no one would ever bother to read my own private thoughts. But we’re now at 16,635 followers.
Broadside has also been chosen for Freshly Pressed six times, a real honor.
Civil, lively conversation
One of the main reasons I write this blog, and continue to enjoy producing it. While I do wish more people “liked” and commented, I really value those who make time to speak up.
The Internet is so full of verbal violence. Not here!
Ongoing readership for my two books
I grew up in Canada, which runs something called the Public Lending Rights program, essentially royalty payments made by Canadian libraries to books registered through their program. Every year they send me a check, usually about $450, based on how often my books are borrowed and read, which tells me readers are still reaching for my work and still finding value in it.
That’s why writers write: to find readers!
Here’s a link to Blown Away; and one to Malled — if you have a book club that would like to read and discuss either of them (i.e. buying at least a dozen), I’ll Skype in for a Q and A.
I recently went out for lunch in Manhattan with a friend who’s 20 years my junior, a woman who now lives in London but who was working in Bahrain when I first spoke to her, as a source for a New York Times business story.
She seems to live in an airplane, but we share unlikely passions, like fragrance. It’s a rare thing, but sometimes a source becomes a pal, as have some fellow bloggers, as have many of my colleagues throughout the years, whether staff or freelance.
Learning about the world
I get paid to learn.
It’s a real privilege to meet or speak to such a range of people, from a British female bank CEO to a female Admiral to Olympic athletes to convicted felons to a Prime Minister to a neurosurgeon to an FBI firearms instructor.
Journalism is no way to become wealthy, but the joy of encountering so many different people and hearing and sharing their stories is worth a lot to me.
Being of service
It’s not waitressing or working retail, but journalism really is in many ways a service industry — if what we produce isn’t useful or meaningful to our readers, viewers and listeners, it’s time to hang up those skates!
I’m delighted when I hear from readers that they’ve learned something new and useful from my work; one Canadian woman said a story of mine had saved her life, as I covered a weird side effect of a medication that doctors kept dismissing when patients complained. Her mother read my story and shared it with her daughter who pushed back harder on her physician.
Telling great stories
The world is simply brimming with hundreds of amazing, untold stories.
Some are deeply unsettling, and it’s our role as reporters to bear fearless and intimate witness to war, crime, natural disaster, social injustice, racism.
Others are lying inside people who have simply never before been asked to talk to a reporter. Their untold tales are powerful, bursting with the energy of something finally unleashed.
It’s a huge responsibility to try to carve story from the raw material of reality — choosing the right characters, setting scenes, evoking emotion, choosing just the right words, in the right order, at the right length.
It is never easy.
It never should be.
Not every journalist can count on a life of adventure, but it’s there for the taking if you choose your jobs and assignments carefully.
For work, I’ve been to the Arctic circle, to visit a tiny Inuit village, spent eight days in a truck with a French trucker going from Perpignan to Istanbul, taken class with the Royal Danish Ballet, have climbed the rigging 100 feet up and worked on a foot-rope aboard a Tall Ship, taken the helm of a multi-million America’s Cup contender.
I’m grateful for all these paid adventures and hope to have a few more before I’m done.
Unless you know a journalist, or are one, dismissing “the media” is an easy — and lazy — way to describe the millions of men and women, of all ages, worldwide, whose chosen profession is to find and gather accurate, verifiable data and disseminate it as widely as their medium allows.
It’s disingenuous and misguided to mistake journalists for stenographers.
As the late David Carr once said: “I don’t do corporate portraiture.”
Our job is to challenge authority.
To speak truth to power.
To insist upon clear, straight, verifiable answers.
Those who don’t?
They’re a joke.
As Trump bellows and whines and threatens to keep making reporting on his administration difficult for all but the most fawning, it’s useful to remember what 99 percent of journalists actually do:
— We report on science and medicine, digging through journals, speaking to scientists and researchers and physicians and patients, trying to make sure the latest “miracle” drug or “breakthrough” cure really is that, and not just the prelude to a Big Pharma IPO.
— We cover local government, school board meetings and other minutiae of local life, where every hard-earned taxpayer dollar is spent (or wasted.) We read long boring reports and sit through long boring meetings to keep eyes and ears on elected officials.
— We race toward danger to photograph war, natural disaster, fires and crashes. Photographers and videographers have no luxury of distance. They, too, get injured, physically and emotionally. Some are killed in the line of duty — like news photographers Tim Hetherington, Anja Niedringhaus and Marie Colvin, their names meaningless to those beyond our circles. But their bravery and determination to keep telling stories, no matter how dangerous, inspires many, like our young friend Alex Wroblewski, who’s been to Iraq several times.
— We sit with people whose lives have been shattered by crime and tragedy. We listen carefully to their stories and try to be compassionate, even while we take notes or record them for posterity. Through those stories, we try to elucidate what it means to live with daily pain and grief, the cost of lawlessness and mayhem.
— We cover cops and courts, holding police and other powerful authorities to account, to restrain, when possible, their abuses of lethal power.
— We watch, listen to and share our experiences of culture, whether Beyonce’s latest album or a performance of 16th. century lute music.
— We dig into business and corporate behavior, reading the tiny print at the back of annual reports. We speak to workers at every level to hear their firsthand experiences, not just the shiny version presented, forcefully, by public relation staffs.
— We watch the larger culture for shifts and trends, trying to make sense of a world moving at dizzying speed.
And that’s still a very, very small portion of what we do.
Even as Trump stamps his feet and shrieks about the “failing” New York Times, (for whom I write freelance and for whom my husband worked for 31 years), pretend you’re a journalist — and fact-check!
The Times, Washington Post and others he attacks relentlessly are seeing a huge jump in subscriptions.
The White House blocked several news outlets from attending a closed-door briefing Friday afternoon with press secretary Sean Spicer, a decision that drew strong rebukes from news organizations and may only heighten tensions between the press corps and the administration.
The New York Times and CNN, both of which have reported critically on the administration and are frequent targets of President Donald Trump, were prohibited from attending. The Huffington Post was also denied entry.
Both the Associated Press and Time magazine, which were allowed to enter, boycotted out of solidarity with those news organizations kept out.
Spicer said prior to the start of the administration that the White House may skip televised daily briefings in favor of an off-camera briefing or gaggle with reporters.
The next time someone bitches about “the media” send them the link to this blog post, please.
There is no “the media.”
There are millions of individuals working hard to do their best.
Some are biased.
Some are lazy.
Some are useless.
Many are not.
Imagine a world without accurate verifiable information, on any subject.
I’ve been working full-time freelance, alone at home, since 2006. You’ll notice how little time I actually spend writing –– compared to marketing, follow-up, networking and admin.
I sure don’t sit around awaiting my muse — the UPS guy, maybe.
To the post office, sending off, sometimes via snail mail, LOIs, aka letters of introduction. Their goal is to introduce me to a new-to-me editor or client, enticing them into working with me.
The return rate, i.e. paid work, isn’t terrific, but it must be done. I sometimes enclose a copy of my latest book, along with my resume, letter and business card. Sending one package from New York to London (I sent two), would have cost me $22 (!) each. I argued with the postal clerk and got it reduced to $10.
That’s a business deduction.
I have a new ghostwriting client, for whom I produce two blog posts a month. Staying on top of invoicing is key, since some clients take forever to pay, even “losing” your invoice. Working carefully, I now avoid most deadbeats, and have used lawyer’s letters when needed to successfully get the payment I was owed.
I teach writing classes here to professional designers — I attended school here in the 90s
The necessity of freelance journalism, for all but the fortunate few, is pitching — i.e. coming up with ideas and finding markets to pay you (well) for producing them. That also means sifting through dozens of email pitches from PR firms, most of them completely useless and of zero interest to me.
Pitched two ideas to a university alumni magazine, one of which piqued their interest, but hasn’t yet produced an assignment.
I find most of my ideas through pattern recognition — noticing cultural, social and economic trends and offering an idea when it’s timely and in the news. Stories without any time hook are called “evergreens”, and are harder to sell.
Pitching also means plenty of rejection. A health magazine said no to three ideas, (asking for more.) A psychology magazine ignored my pitch for a shorter essay and asked if I’d write it at twice the length — but insisted I show clips (published work) just like it, which I don’t have. An editor I’ve already worked with hasn’t replied to two more pitches.
Pitching also means following up, dancing the razor’s edge between being annoying (too soon, too often), and being ignored.
We rely fully on my income as well, so I can’t just sit around hoping for weeks on end.
Offered a brief, easy assignment, into the city to cover an event for a trade magazine in another state. They offered one fee. I negotiated it 30 percent higher.
Negotiation is always nerve-wracking, but it’s essential. Many women writers fail to ask for more, and end up broke and annoyed because we don’t.
Have a phone meeting next week with a new-to-me editor in Canada, so need to read her website’s work carefully to make sure my ideas are a potential fit.
I’m heading to Europe in June for four to six weeks, and already have several feature ideas I want to pitch, so I can write off some of the expenses, dig deeper into that country’s culture in so doing and earn some income to offset the costs of the trip.
Without some solid data and proven contacts, it’s harder to sell a story, at least one worth $5,000 or more, a very rare bird to catch these days.
I’ve already found an interpreter in Budapest, so that’s a start.
Have been chasing a PR official in Europe on a story for more than three weeks, my deadline long past. The editor is easy-going so we can wait, but the income I relied on for a finished/accepted/invoiced story? That’s now weeks away.
My favorite activity. A new blogger hired me to coach him, and we worked via Skype from my apartment in suburban New York to his European home, a seven hour time difference.
I also worked with a four-person team at a local art film house to help them better shape their pitches and press releases to journalists.
Two newspapers every day. Twitter newsfeed. Social media. Books. Magazines. Websites. (Plus NPR, BBC radio.)
If I’m not reading constantly, I don’t know what’s going on and could miss something crucial I need to know to pitch and write intelligently.
The least of it!
Blogging keeps me writing between assignments.
Without which, nothing happens.
Connected with an editor in Canada (thanks to a referral.)
Connected with a Toronto entrepreneur (we met through Twitter) with whom I hope to do some long-distance coaching for his clients.
Connected with a fellow writer I met last spring at an event of fellow writers who all belong to the same on-line group — she might have assignments to offer.
Spoke to a freelance photographer in California about writing and editing her new website.
Spoke to a PR exec in Seattle about possible blog writing and a white paper.
Now we’ve got a Trump senior advisor telling the American media to “keep its mouth shut” and that we are the “opposition party.”
So, in the interests of media literacy, some inside dope.
If you retain some faith in the veracity of media reporting, (and many don’t), it’s also useful to remember — or know — that what you read, see and listen to is heavily filtered, edited and condensed.
Maybe you knew that.
But if you ever work in a newsroom, or as a reporter or editor or photographer, you very quickly appreciate how much of it ends up on the cutting-room floor.
It is not, despite everything you may hear about the “crooked media” and our putative dishonesty, about partisanship.
It can be, but most often is for very different reasons, like:
Length and space
Less an issue with digital stories, where there’s no lack of room, although a shortened attention span from many digital audiences.
In print, whether magazines or newspapers, many stories compete every day for space.
Every newspaper editor has a “budget”, in addition to their monetary one, and daily “budget meetings”, in which every competing story tries to win its spot in that day’s report and what prominence it will get.
Then a talented team of photo editors, art directors, layout experts and graphics editors works to make each page, ideally, look terrific and draw you into each story.
This is my most recent NYT story, which got great play, (on the front page [aka the dress page] of the paper’s very well-read real estate section), the gift of a gorgeous illustration (by someone else from Toronto!) — and even netted me fan mail! It’s about how people, when renovating, sometimes find very weird things in their walls and floors, or place items themselves.
Short is often better — get to the point!
But complex issues demand complex and nuanced reporting for the audience to understand them and why they matter to us, like the NPR report I heard this morning on the Congressional Review Act, which I’d never heard of before.
Probably the biggest ongoing challenge every news journalist faces, especially those who work with images: war, natural disaster, terrorism, murder scenes, airline, train or car crashes. They have to process it emotionally, (or shut it out somehow.) Over the years, let alone decades, it takes a toll.
The day before I took my driving test (!), while a reporter at the Montreal Gazette, I covered a head-on collision between a city bus and a small car. I’ll spare you the details, but — 26 years later — I remember it all too well.
Secondary trauma is a real issue for many of us, and in a business where macho behavior is rewarded and emotional reactions in that moment can hinder our work. My husband covered New Mexico’s worst ever prison riot as a photographer when he was still a college student and spent a month in Bosnia at the end of the war in 1995. Both seared his soul.
I’ve reported stories with gory details I knew, but omitted. They informed my understanding of the issues and the reality of the event, (like a murder trial or 9/11), but civilians — i.e. non-journalists — just aren’t prepared to handle it.
By the time you see or hear it, it’s often heavily sanitized.
This is a big one, especially now.
If you can’t trust media coverage to be factual — and checked before publication or broadcast with multiple, reliable sources — you’re toast.
It doesn’t even matter what the story is, really, because the underlying principles remain the same: when in doubt, leave it out.
We have to make sure we know who’s talking to us, why now and their agenda(s).
Who’s funding them? Who pays their bills? Who do they owe favors to?
Many sources just end up sounding or looking really stupid.
It’s up to us to decide, as gatekeepers, what to reveal.
We’re all human and we all mis-speak.
That question changes when we’re covering a public figure like a politician, who’s chosen to be in the public eye and who has significant responsibility to voters. That’s why they hire spokesmen (and women) to spin everything.
It’s our job to untangle it all.
Far too many press releases!
I get several every day, and delete 99.9% of them unread, unopened and annoyed at the laziness of the people being well paid to send them.
There are three writers in New York City (!) with my name, one of whom covers beauty for a major magazine, so of course I get her email all the time.
Some press releases are useful, but are often full of jargon and of no interest at all.
Most of the best stories you’ll read and hear come from reporters and editors’ own ideas and research, tips from sources and observations of the world and its patterns.
Documents, leaks and FOIAs
If you saw the film Spotlight, which won the Oscar for Best Picture, you’ll know that poring over reams of documents can create the most powerful and damning stories of all.
The editor, then, of the Boston Globe, Marty Barron, is now at the Washington Post, which is kicking ass and taking names in covering the Trump administration.
The more Trump shuts down federal agencies and staffers, the more they’re leaking what we need to know.
You need a free press more than ever now.
The big three of news determinants.
The closer an event is to readers, listeners and viewers, the more likely it will get coverage — which is why Americans, certainly, hear just about nothing, ever, from entire parts of the globe: most of Asia and the MidEast, Latin and Central America, Eastern and Southern Europe, Australia and New Zealand.
Unless it’s seen to have a direct impact on American lives or economic/political interests…crickets.
Which is crazy.
Because the less you know about how the rest of the world operates and behaves, (i.e. differing histories, cultural values and resulting wars, unrest and public policies), the less you understand or care.
(Have you noticed the rise of Marine LePen, running for France’s Presidency? Nice.)
Don’t, please, get me started on celebrity — and how every day someone “reveals” a “secret” and media drool over first dibs on it.
If something happened even a week ago, let alone a few days, it might not be deemed “news” because, no matter how important, it’s not “new.” It’s a lousy way to make decisions, and very common.
The only way to make sense of the “news” is to absorb and process a wide range of it. If all you ever read or pay attention to is American (or your own country’s), the Internet offers you all of it, most of it free — radio, videos, newspapers, blogs, magazines…
I read the Financial Times every day and listen often to BBC. I get French and Canadian news through my Twitter feed.
Sure, some journalists write puffy stories about luxury hotels and mascara and shiny new tech toys.
But the journalism a democracy relies on is one with consistent, ready access to its leader(s), holding them and their government to account.
If you don’t grasp this essential fact, you’re in for a very long and ugly fight.
In his very first press briefing, Trump’s spokesman Sean Spicer managed to stun the entire White House press corps with a toxic mix of hostility, aggression and threats.
This isn’t how a briefing is supposed to go. Certainly not from the very start.
Oh, and fleeing the room without taking a single question.
Not a great start to a new administration.
This is how it works:
Journalists are hired to find out what the hell is actually going on in the halls of power.
They cultivate sources.
They read long, tedious boring documents, where the meat of the matter may be buried 537 pages in.
They do not give up easily.
We do not give up easily.
A President who whines about every perceived slight to his fragile ego, and an attack dog press secretary , are not what Americans need or deserve.
Millions of Americans did not vote for Donald Trump, and even those who did need and deserve to know what he is doing — beyond his relentless tweets.
And the rest of the world is also watching and listening, as confused and concerned as many Americans are by the oldest President ever elected, a proven liar, cheat and misogynist — and a man who has never served a minute in office before.
The Presidency carries tremendous power, and the trappings of office are indeed impressive and daunting: a residence in the White House, access to nuclear codes, travel in Air Force One and Marine One, rafts of attendants snapping salutes.
But he works for us.
He works for the American people.
If the press, whose role it is to represent every voter unable to ask tough questions directly, are body-slammed from the very start, look forward to the most persistent, aggressive and unrelenting scrutiny of this administration you can begin to imagine.
Some of you follow the news closely and know that President Elect Donald Trump makes a habit of naming, shaming and blaming reporters he thinks have somehow insulted him, often by merely challenging him on his ever-shifting statements and tweets.
“That” was Donald J. Trump’s inaugural news conference as a duly elected United States president-to-be, in which he called BuzzFeed a “failing pile of garbage,” dismissed CNN as “fake news” and more or less told the whole lot of reporters at Trump Tower to stuff it when it comes to his unreleased tax returns because everyday Americans don’t care and, anyway, “I won.”
There were two big lessons in the Wednesday morning melee.
1. Mr. Trump remains a master media manipulator who used his first news briefing since July to expertly delegitimize the news media and make it the story rather than the chaotic swirl of ethical questions that engulf his transition.
2. The news media remains an unwitting accomplice in its own diminishment as it fails to get a handle on how to cover this new and wholly unprecedented president.
It better figure things out, fast, because it has found itself at the edge of the cliff. And our still-functioning (fingers crossed) democracy needs it to stay on the right side of the drop.
The problem is multi-faceted.
Some of the issues journalists now face in covering Trump:
— Many Americans don’t trust the MSM, mainstream media.
— Many Americans are gulping down “fake news” with no idea who’s lying to them and making bank from it.
—Many Americans loathe journalists and think that challenging those in authority — whether elected officials or the wealthy — is rude and disrespectful.
— In an era of a 24/7 news cycle, journalists are racing to be first, not always correct.
— In an era of unprecedented secrecy and obfuscation, (we have not yet seen Trump’s tax returns — and how long exactly does an audit take?), transparency and accountability are more essential than ever for voters to know what the hell is going on.
— The President-elect is hiring his own family as senior advisors, none of whom, like him, have any prior political experience. Also unpredecented. And why should any of us trust them? We didn’t vote for them, nor do they need to be confirmed through Senate hearings.
— Journalists have traditionally been respectful of the office of the President, but never before in recent history has there been a President who attacks the media almost daily, often singling out specific reporters, (like NBC’s Katy Tur) by name. That can lead to social media death threats and doxing.
— Journalists are working in an industry in deep turmoil financially, feeling economically vulnerable at the very moment we need them to be utterly fierce in their reporting.
— Without determined, consistent, aggressive reporting on every conceivable conflict of interest, voters, no matter who they chose (or didn’t vote at all), will have no idea what Trump and his kakistocracy are up to. Trying to intimidate us only invites doubling down.