Another Small Pleasure

When Rupert Murdoch said The Wall Street Journal would target The New York Times in the competition for readers, he was talking about a lot more than prose style. But if you're taking aim at The Times it helps to show that WSJ reporters know how to write, really write.

Long before Murdoch took over The Journal, it had an enviable tradition of reporting and editing factual news in a "storytelling" format. This was not unique to The Journal -- "storytelling" has been a tiresome buzzword for years in the news business -- but WSJ reporters have been trained to do it better than most.

As a follow-up to yesterday's admittedly inexact NYT-WSJ comparison, here's a textbook example of two front-page ledes that offer a precise contrast in news writing. One is a grabber. It presents the facts in human terms, with dramatic appeal. The other is a dull recitation. It presents the facts as legal abstractions, with no appeal at all.

Exhibit A:

In the final act to a legal drama that began with the devastating Exxon Valdez oil spill 19 years ago, a splintered Supreme Court sliced $2 billion from punitive damages imposed on Exxon Mobil Corp., leaving fishermen, native Alaskans and local landowners with just 20% of the award approved by a federal appeals court.

The decision left Exxon pleased and the Alaskans frustrated, but its impact may reach well beyond the icy shores of Prince William Sound. Due to the unique area of law the lawsuit invoked, the justices had their first opportunity to reveal their approach to punitive damages when drawing on a blank slate, rather than applying state laws as they have in prior cases.

Exhibit B:

The Supreme Court on Wednesday reduced what had once been a $5 billion punitive damages award against Exxon Mobil to about $500 million. The ruling essentially concluded a legal saga that started when the Exxon Valdez, a supertanker, struck a reef and spilled 11 million gallons of crude oil into the Prince William Sound in Alaska in 1989.

The decision may have broad implications for limits on punitive damages generally. Punitive damages, which are meant to punish and deter, are imposed on top of compensatory damages, which aim to make plaintiffs whole.

Exhibit A: is from today's Journal. Exhibit B: is from today's Times.

I should also mention that the entire stories bear out the contrast in spades.

(Crossposted at HuffPo)

June 26, 2008 7:47 AM | | Comments (3)

3 Comments

The Times example is one of the reasons newspapers are going the way of the dodo.

Only when it reflects my point of view.

Seriously, if a news story reports the facts without distorting them and is written in a way to draw the reader's interest, what's wrong with that? It could be argued that any news story, even one as dry as dust, is a form of editorializing because all "objective" reporting reflects a point of view.

So you like when they editorialize the news?

Leave a comment

Me Elsewhere

'WILD SIDE' STILL ROCKS 

Nelson Algren was one of the great American authors of the 20th century, it is no exaggeration to say, and among the most neglected. Consider his underrated classic, "A Walk on the Wild Side." The title -- popularized and co-opted as an idiomatic phrase by Hollywood and Madison Avenue (institutions Algren loathed) -- is familiar to most anyone who speaks English or knows Lou Reed's lyrics. But the novel itself? Hardly.

BUSTER KEATON REVISITED 
Buster Keaton: Tempest in a Flat Hat is not a biography. "This book is merely a fan's notes," Edward McPherson writes in the introduction, although his publisher ignores the disclaimer and calls it a biography on the cover. In fact, the book is a bit of both, a difficult combination to bring off unless you're David Thomson, who set the standard with Rosebud, his penetrating rumination on the life and career of Orson Welles, which was nothing if not a distillation of every obsessive thought he ever had about the myth and the man and all his movies.
LAUREN BACALL, STILL SALTY AT 80 
When Lauren Bacall writes that her singing voice ranges "somewhere between B minus sharp and outer space," she's being candid and funny. It's not every stage star with two Tony Awards for best actress in a musical whose vocal talent offers so little promise. (OK, Harvey Fierstein excepted.) Still less would one admit it.
THE STARS ACCORDING TO BOGDANOVICH 
Peter Bogdanovich's superb collection of movie-star profiles and interviews -- a sequel to Who the Devil Made It, his interviews of top film directors -- begins with an affectionate tale about Orson Welles that reminds us just how intimate the author's connection to Hollywood's greatest has been. But contrary to what we've come to expect from dime-a-dozen celebrities and celebrity interviews not worth two cents, the tale avoids bromidic egotism and journalistic platitudes.
HERMAN WOUK'S LATEST 
It's hard to say which comes off worse in Herman Wouk's latest novel, his first in a decade: the U.S. Congress or the American press. "A Hole in Texas" offers the choice between two emblematic stereotypes: a red-faced opportunist who heads the House Armed Services Committee and a mustachioed investigative reporter for the Washington Post.
more picks

Sites to See

About this Entry

This page contains a single entry by Straight Up | published on June 26, 2008 7:47 AM.

Meet Mr. Gasbag, WSJ-style vs. NYT-style was the previous entry in this blog.

Dr. No and Mr. Gasbag is the next entry in this blog.

Find recent content on the main index or look in the archives to find all content.

AJ Blogs

AJBlogCentral | rss

culture
About Last Night
Terry Teachout on the arts in New York City
Artful Manager
Andrew Taylor on the business of arts & culture
blog riley
rock culture approximately
CultureGulf
Rebuilding Gulf Culture after Katrina
Dewey21C
Richard Kessler on arts education
diacritical
Douglas McLennan's blog
Flyover
Art from the American Outback
Life's a Pitch
For immediate release: the arts are marketable
Mind the Gap
No genre is the new genre
Rockwell Matters
John Rockwell on the arts
Straight Up |
Jan Herman - arts, media & culture with 'tude

dance
Foot in Mouth
Apollinaire Scherr talks about dance
Seeing Things
Tobi Tobias on dance et al...

jazz
Jazz Beyond Jazz
Howard Mandel's freelance Urban Improvisation
ListenGood
Focus on New Orleans. Jazz and Other Sounds
Rifftides
Doug Ramsey on Jazz and other matters...

media
Out There
Jeff Weinstein's Cultural Mixology
Serious Popcorn
Martha Bayles on Film...

classical music
The Future of Classical Music?
Greg Sandow performs a book-in-progress
On the Record
Exploring Orchestras w/ Henry Fogel
Overflow
Harvey Sachs on music, and various digressions
PostClassic
Kyle Gann on music after the fact
Sandow
Greg Sandow on the future of Classical Music
Slipped Disc
Norman Lebrecht on Shifting Sound Worlds

publishing
book/daddy
Jerome Weeks on Books
Quick Study
Scott McLemee on books, ideas & trash-culture ephemera

theatre
Drama Queen
Wendy Rosenfield: covering drama, onstage and off
lies like truth
Chloe Veltman on how culture will save the world
Stage Write
Elizabeth Zimmer on time-based art forms

visual
Aesthetic Grounds
Public Art, Public Space
Artopia
John Perreault's art diary
CultureGrrl
Lee Rosenbaum's Cultural Commentary
Modern Art Notes
Tyler Green's modern & contemporary art blog
Creative Commons License
This weblog is licensed under a Creative Commons License.