Norman Sims has spent three decades studying literary journalism, a genre that is generally viewed in contrast to traditional newspaper journalism. But in his new book, “True Stories: A Century of Literary Journalism,” Sims argues that literary journalism could be the very thing to boost newspaper readership. He recently discussed how even the earliest examples of literary journalism share aspects of one of the newest narrative forms: the blog.
Spadora: Your interest is literary journalism, which is most often found in magazines and books. How do you assess the state of newspaper journalism?
Sims: I see a degree of stress in public affairs journalism that wasn’t there 10 or 20 years ago. Newspaper staffs have been reduced and there are fewer resources available to support the newspaper’s job of covering government and doing independent investigative reporting. There’s still plenty of great work being done, but people inside the industry are now questioning whether or not the fundamental nature of American democracy will change if newspapers continue down this path.
Done right, public affairs journalism is hard work. Similarly, literary journalism requires time and careful attention. Some scholars have suggested that bringing voice and storytelling back to the newspaper in the form of narrative journalism may pay returns in a larger audience. It would be wonderful if literary journalism and public affairs reporting could contribute to the survival of the newspaper.
Spadora: In “True Stories” you write about the role that short narratives known as “sketches” played in newspapers a century ago, before the form fell out of favor. The sketch seems to offer writers the freedom of literary journalism without demanding the investment of time that the genre demands. What is the likelihood that sketches could make a comeback?
Sims: The sketch died early in the 20th century when facts-consciousness and objectivity were newfound darlings in the press. Today, editors are recognizing that narrative storytelling can be accurate and more enjoyable than the standard forms of news.
For (late 19th-century journalists) George Ade and Finley Peter Dunne, the column provided an oasis for sketch writers in the 20th century, and that remains true today. In a column, voice, perspective, personality and attitude are appropriate. Recently reporters have discovered another area where sketches can survive: the blog.
The woeful state of contemporary newspapers may be a consequence of the objective, impersonal style of newspaper reporting. (University of Toledo journalism professor) Paul Many has suggested that literary journalism could be the last, best hope to pull readers back to the newspaper. People like Dan Barry (of The New York Times) might be thought of as contemporary sketch writers. They are somewhat exempt from some of the rules that apply to other writers at a newspaper. That gives them the freedom to have a voice.
Narrative reporters, as we now call sketch writers, have become popular at innovative newspapers such as The Oregonian. They bring voice and perspective back and, perhaps, offer competition to the blogosphere.
Spadora: The book chronicles the peaks and valleys of literary journalism. The valleys seem to correspond with pushes for objective reporting. Are literary journalism and traditional journalism natural antagonists?
Sims: On the journalistic roller-coaster ride of the 20th century, the major styles, such as muckraking, interpretative reporting, and even investigative journalism, did not remove the reporter from the text, but objectivity did. To the extent that the movement toward objectivity removed the voice of the reporter, literary journalism was in a different camp.
Spadora: Your portrait of New Yorker writer Joseph Mitchell is one of the most enjoyable aspects of “True Stories.” He seemed to be as extraordinary a person as he was a writer, and it appeared that those facts were related. How did Mitchell’s personality influence his work?
Sims: In my opinion, Joe Mitchell’s personality and work were directly connected. His gentleness, patience, craftsmanship, and respect for others came through in his writing. Those who knew him saw his face in every piece. I think the same is true of John McPhee.
Spadora: How would you advise a young journalist go about becoming a literary journalist?
Sims: Mark Kramer (the founding director of the Nieman Program on Narrative Journalism) once described the apprenticeship needed in order to become a literary journalist. It involved 10 years spent writing miles of sentences while making little money. Meanwhile many job opportunities would swim by offering bigger salaries, and they would attract smart, capable writers into other fields. It’s nature’s way; not all seeds will sprout. If you’re serious, take someone like Adrian Nicole LeBlanc or Jonathan Harr as a model. Get used to sleeping on the couch.
Spadora: Near the end of “True Stories,” there is a somewhat bleak look at the present and future of the genre. Are we in a “valley” for literary journalism now, in terms of avenues available to writers? Do you have concerns about the genre’s future for that reason?
Sims: The risk for literary journalism has shifted from the publishers to the writers. This is a difficult time financially for all journalists. Just ask the hundreds of Los Angeles Times, Boston Globe, and Chicago Tribune journalists who have been laid off. I don’t fear for literary journalism, because it has natural qualities that attract good writers. I have greater concerns about the sustainability of traditional public affairs journalism.
Spadora: The daily newspaper reporter seldom has the time and resources that literary journalism demands. Without several months to report or a budget to travel, what tools of the literary journalist are still available to him or her?
Sims: You don’t have to be John McPhee at The New Yorker to use the tools of literary journalism in newswriting. Within a larger story, a writer can embed a scene complete with setting, characters, dialogue, and action. Characterization that brings people to life can involve more than details of age, occupation, and address.
More valuable than anything, perhaps, is simply paying attention to ordinary life in your community. Feature stories about ordinary people can bring together readers with a taste for good prose and writers with literary ambitions — to everyone’s benefit, including the newspaper itself.
