Unlike a blacksmith

blacksmithIn a world where subs weren’t being stripped away to a rump, the “journalists are doomed like blacksmiths” cliché would be getting green-inked into oblivion. Sadly, we live in this world, with editing viewed as an expendible cost, leaving writers free to jerk out thoughtless comparisons on the future of their trade, and no one on hand to instill any quality. And so we find Chris Anderson talking to Der Spiegel, repeating the old journalist/blacksmith analogy:

In the past, the media was a full-time job. But maybe the media is going to be a part time job. Maybe media won’t be a job at all, but will instead be a hobby. There is no law that says that industries have to remain at any given size. Once there were blacksmiths and there were steel workers, but things change.

Der Spiegel, “Chris Anderson on the economics of Free”

Anderson’s problems with language start at the very beginning of the interview, when he rules out a bunch of perfectly servicable signifiers (“Sorry, I don’t use the word media. I don’t use the word news. I don’t think that those words mean anything anymore”) before helpfully declaring that “There are no other words.” But the blacksmith reference really riles me.

I’ve written before about why I find this trope unconvincing for journalism. Blacksmiths made a product which was muscled out by technical innovations that allowed functionally-identical (or better) items to be made cheaper. The work of a journalist can’t be mechanically substituted – it has to be performed by a person going through certain processes from research to writing to publication.

There are chunks of the print trade that have become technically obsolete, and as the move into digital publishing continues, more people are going to become unemployed: the paper and ink manufacturers, the warehouse employees, the newsagents. But journalism itself – the thing that is distributed – isn’t necessarily going to be stripped away by a change of format, and it’s rather embarrassing that journalists’ main angle on the electronic transition so far has been their own job security.

At the moment, newspapers and magazines are feeling pressure to retrench while they work out how to make money from electronic publishing. But one of the things that Anderson’s Free argument falls down on is that Free doesn’t seem to be quite the unalterable “force of gravity” he thinks – there are studies that show the people who make the most use of free stuff are also the people most willing to spend on similar material. And the people who spend are going to need something worthy of their cash, as John McIntyre writes:

Once journalism, print and electronic, has stabilized in a business model that no longer requires the ceaseless cuts in staff and reductions of product that have marked the past few years, it will begin to reconstruct itself. As it does so, some publishers will once again aspire to credibility and quality. Some, as always, will happily churn out junk so long as money can be made off it, but a few will seek more dignity. Some always do.

Those who so aspire will come to see that editing is indispensable and will begin to employ more editors as revenues permit. Those editors will not likely work in the structure that newspapers favored for more than a century, but whatever structure develops will take cognizance of unchanging principles:

Credibility rises from accuracy; accuracy requires checking.

Readers want clarity; clarity and focus come from editing.

Writers, who are not necessarily the best judges of their own work, benefit from a dispassionate analysis of their prose before publication.

The best writers benefit from editing; the less-accomplished require it.

You Don’t Say, “After the storm”

In fact, Anderson admits this much when he tells his interviewer that “If you have attention and reputation, you can figure out how to monetize it.” Media outlets that plan to retain their value had better retain – and pay for – their standards.

© Sarah Ditum, 2009. Photo by caravinagre, used under Creative Commons.