It follows that in the reporting of strikes, the easiest way is to let the news be uncovered by the overt act, and to describe the event as the story of interference with the reader's life. That is where his attention is first aroused, and his interest most easily enlisted. A great deal, I think myself the crucial part, of what looks to the worker and the reformer as deliberate misrepresentation on the part of newspapers, is the direct outcome of a practical difficulty in uncovering the news, and the emotional difficulty of making distant facts interesting unless, as Emerson says, we can "perceive (them) to be only a new version of our familiar experience" and can "set about translating (them) at once into our parallel facts."[1]
If you study the way many a strike is reported in the press, you will find, very often, that the issues are rarely in the headlines, barely in the leading paragraphs, and sometimes not even mentioned anywhere. A labor dispute in another city has to be very important before the news account contains any definite information as to what is in dispute. The routine of the news works that way, with modifications it works that way in regard to political issues and international news as well. The news is an account of the overt phases that are interesting, and the pressure on the newspaper to adhere to this routine comes from many sides. It comes from the economy of noting only the stereotyped phase of a situation. It comes from the difficulty of finding
- ↑ From his essay entitled Art and Criticism. The quotation occurs in a passage cited on page 87 of Professor R. W. Brown's, The Writer's Art
