Professional Documents
Culture Documents
23
Slow Journalism
in the Digital Fast Lane
Susan Greenberg
Introduction
New technologies have made it possible to deliver quality goods and services
at low cost. As a result, people are only prepared to pay more if they get some-
thing truly luxurious or special. This trend, known in marketing circles as the
end of the middle, favors items where the added value is clear; hence the
growth of the slow food movement. But by the same token, a shrinking mar-
ket remains for those that are deemed merely average.
How does this translate to journalism? At the bottom end, we swim in a
sea of information. Once a news wire was an expensive service, purchased only
by large organisations; now social networks function as personalized wire ser-
vices. The middle market is represented by the traditional newspaper, which
has seen a steep fall in custom.
If the analogy holds, there should be a flourishing market at the luxury end
of the market for slow journalism (Greenberg 2007)1: essays, reportage and
other nonfiction forms that offer an alternative to conventional reporting, per-
ceived as leaving an important gap in our understanding of the world at a time
when the need to make sense of it is greater than ever. The journalistic equiv-
alent of slow food keeps the reader informed about the provenance of the
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information and how it was gathered. More time is invested in both the pro-
duction and consumption of the work, to discover things we would not other-
wise know, or notice things that have been missed, and communicate that to
the highest standards of story telling craft.
Often, a defining aspect of the genre is that the story works on more than one
level so that the specific subject matter leaves openings to other, more universal
themes. And it usually toleratesand makes plain to the readera greater
range of uncertainty about what the writer knows, and how she or he knows it.
This willingness to acknowledge the subjectivity and uncertainty that exists in
factual discovery helps to allay the suspicions of an audience which has come to
mistrust the language of traditional neutral reporting, and arguably helps
anchor the story to external reality in a more persuasive way (Greenberg 2010).
The philosopher Thomas Nagel has argued that objectivity should be under-
stood, not as neutrality, but as a method of verified discovery, a step backwards
from a specific, acknowledged point of subjectivity. The aim is to see the bigger
picture, transcend our particular viewpoint and develop an expanded con-
sciousness that takes in the world more fully (Nagel 1989: 5). Reporting, espe-
cially the immersive forms found in literary or creative nonfiction, can be
understood in this context as an example of such an expanded consciousness, a
personal experience that is deliberately turned outward and tested by verification.
There appears to be a public appetite for slow journalism when it becomes
available; the jury is still out, however, about how that translates into a liter-
ary market. The description of modernity as a condition in which time is
experienced as the ultimate luxury has become a recurring theme. The main
complaint is not about speed as such, but the sense that individuals have lost
the freedom to choose; to control and vary the pace of life and use personal
judgement to decide what is appropriate (Hoffman, Honor, Lanier). But, in
addition to these general influences, there are specific challenges affecting
narrative nonfiction, a type of literature often lost from view because it does
not fit cultural assumptions. For those interested in literary nonfiction, the res-
cue of texts from category error remains a primary task.2
At the same time, while anxiety remains about the end of journalism3 and
a shrinking market for writers of all kinds, fear is tempered by the growing
awareness that new forms of distribution have removed constraints and offered
opportunities for experimentation. Because of the pace of change and the flu-
idity of categories, it is difficult to identify new web genres with any accuracy.
Information Studies scholars such as Shepherd and Watters have found it use-
ful to refer to three larger categories of this moving target: the replication of
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existing genres on to the web, the evolution of existing genres, and the spon-
taneous appearance of new genres (Shepherd and Watters 2004). The first cat-
egory, which includes the migration of existing publishers to the web, and
branded portals that link to those publishers, contains important elements of
innovation. However, the survey here focuses on the second and third types
evolution and inventionand the challenges arising from the new digital
environment. It also explores the ways in which the slow journalism meme
(Greenberg 2011a, 2011b, 2011c) may have some meaning as a way of fram-
ing and understanding the shift.
Examples of innovative form include the growth of graphic narratives; the
blog as lyric essay; a return to publishing by instalment; story telling as perfor-
mance, and micro-nonfiction. What unites them in many cases is the search for
a distinctive voice and a more complex approach to subjectivity. The challenge
in this environment is to guard against a potential new idealism around authen-
ticity andin a world where text is perceived as endlessly changeableto
appreciate the creativity that comes with constraint and completion.
It was good to speak with a voice (as long as the writer wasnt too much of a dork). It
was important to take risks and experiment (as long as there was a tangible payoff for
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the reader). But Wolfe and company had a relatively small tool chest to loot. Imagine
what those new journalists could have done with video and sound, with hypertext links
and limitless bandwidth.Were not just going to change that art, but evolve ityou
understandtake it to the next plane: The Way New Journalism (Quittner 1995).
He went on to identify the key features of this new form, in terms that have
been used ever since: a more intimate voice, hypertextuality, multimedia, and
an instant, interactive audience reaction. In the academy, these qualities were
mapped by Jay David Bolter, who gave currency to the idea of the internet as
a writing space (Bolter 2001).
Although online publications such as Hotwired and Suck.com engaged
with these concerns, the appearance of Slate a few years later arguably marked
the first professional, general-interest, web-only magazine to try to meet the
challenge. One tactic, explained by Slate editor Michael Kinsley, was to tell sto-
ries in installments: the reporter would
file dispatches, which we will post immediately, as he goes about his research. The read-
ers will be able to follow the reporter as he gathers and analyses his material, as we have
no more idea than you do about where the story will lead him or how it will come out.
When he is done, if it works, the entire article will be published as an eBook (Kinsley
2001).
Manila content management system. Around the same time, Blogger.com was
launched, eventually helping to popularize the personal narrative, which had
already been established as a web genre (Ammann). By May 2003, giving a lec-
ture at Harvard University, Winer was able to define the blog as the unedited
voice of a [single] person (Winer 2003).
The ease that the new format brought to self-publishing, and the liminal,
permanently unfinished nature of much web-based writing, gave new life to
the venerable essay. This development was noted in 2006 by the writer and
commentator Sven Birkerts, who wrote:
The essay is poised to achieve a second life in our complex hyper-driven culture. I see
it as an ideal medium of response and reflection, adjustable in scale from a few short
pages to more ambitious lengths (much as the short story can span the gamut from
sketchy aperu to near-novella), and it is open to a full range of voices.Increasingly
these days, it makes use of different strategies of collage and lyric juxtaposition, both
of which reflect the evolution of contemporary sensibilities (Birkerts).
in the shape of blooks and literary awards.5 But for the most part, blogging
has remained associated with artisanal diaries, made accessible on mass plat-
forms, or the opinion and gossip compiled by large aggregators. A tension per-
sists, however, between the two camps present at the birth of the form, in the
fights between those who define blogging primarily by its interactivityshort
comments with links to other sitesand those who see it primarily as a space
for longer, original content. The main criticisms of the former include a lack
of original reporting, an increasingly predictable style and subject matter
(Duray 2011) and the potential to close off critical engagement.
Literary nonfiction still finds expression in print, and in addition to tradi-
tional channels such as books and magazine articles, there has been an explo-
sion of experimental print forms such as the magazine in hard covers, with a
longer shelf life. Examples include Delayed Gratification in the UK, Vingt-et-un
in France, and the one-off San Francisco Panorama in the United States, which
aimed to repurposethe newspaper from a vernacular to a luxury good
andfrom a primarily information object to a primarily aesthetic one (Garber
2010a). One also finds a proliferation of what is sometimes called the nonfic-
tion chapbooka term borrowed from poetry and conceptual art to describe
anything literary, short and incompletewhich packages bite-sized lyric essays
and interviews in a format that can be sold in bookshops (Chauvier 2009;
Briscoe 2010).
But some industry analysts argue that, despite the merits of print, the
medium should not be politicized, and new media channels may even offer supe-
rior possibilities for the form. Too often, I think, the emotional aspect (a
wistful defensiveness about print) leads us to conflate the qualities of print with
the commodity of print, and to forgetthat those qualities arent unique to the
medium by any stretch, writes Megan Garber, for the Nieman Journalism
Lab. The vast majority of the qualities print enthusiasts cite when praising the
form are ones that can exist just as readilyand often, more readilyon the
web (Garber op cit).
One example of evolution occurred in Slate, where staff writers and edi-
tors were given paid sabbaticals to leave behind the horse race of daily inter-
net publishing and develop long-form, in-depth features on subjects they
found compelling. Editor David Plotz told the New York Observer: They can
sleep until noon, close the blindsand read all afternoon long, as long as
theyve got something to show for it in the end (Koblin 2009). This resulted
in a series of original works which chimed with the readership, in the form of
page views of three to four million for the most popular reports, and helped to
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The best narratives and the best cultural criticism are not simply means of delivering
information; they rise to the level of literature. Of course, there can be artistry in blog-
ging, but it is a different kind of artistry. A 300-word post cannot hold you in suspense;
nor can it deliver a shocking conclusion. A brilliant piece of long-form storytelling can
do both of these things. Another value, which we hope will especially come through
in our argumentative essays, is a certain appreciation for nuance. Writing a long argu-
ment means introducing complexities, it means engaging counter-arguments, it means
giving yourself as a writer time to doubt your convictions. That doesnt mean long-form
journalism cant arrive at impassioned conclusions; the best long-form writing often
does. But writing long means grappling with all sorts of nuances on the way to those
conclusions and taking readers on a journey in which they will have the chance to do
the same (Just 2011).
inal notes and commentary (Flood 2010). Although the example cited here
concerns fiction, the provision of supplementary material holds promise for lit-
erary nonfiction, whose trademark is the documentation of discovery.
Even in straight news stories, the [blog] format always requires you to put yourself into
narrative. You are expected not only to have a point of view and reveal it, but to be
confident that it is the correct point of view. There is nothing wrong with this. As
much as a writer can fabricate a detachment, or a view from nowhere, as Jay Rosen
has put it, the writer can also fabricate a view from somewhere. You cant really be a
reporter without it. I dont care whether people know how I feel about particular polit-
ical issues.What I hope I will find refreshing about the change of formats is that I
will no longer be compelled to turn every piece of prose into a personal, conclusive
argument, to try and fit it into a coherent framework that belongs to a web-based per-
sonality called Marc Ambinder that people read because its Marc Ambinder
rather than because its good or interesting (Ambinder 2010).
Notes
1. A brief history of the Slow Journalism meme is provided in Greenberg 2011a.
2. In one example, the first edition of Essays in Love by Alain de Botton (1993) was presented
as a novel, despite his protests. When the book went into a second edition, the author had
enough clout with the publishers to have the book recategorized as nonfiction. But when
it was made into a film, the producers insisted again on calling it a novel. He com-
mented: You have to choose your battles (de Botton 2010).
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3. Examples of the terms use are widespread. One example is the international conference
of that name at the University of Bedfordshire, September 2008.
4. Internet researcher John Coate wrote that for thousands of years, language has been either
spoken or written. But online conversation is a new hybridtalking by writing. Its writ-
ing because you type it on a keyboard and people read it. But because of the ephemeral
nature of luminescent letters on a screen, and because it has such a quicksometimes
instantturnaround, its more like talk (1992).
5. In one UK example, Jack Nights police blog was awarded the Orwell Prize for political
writing in April 2009.
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