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“New Journalism” refers to a literary movement in the 1960s and 1970s that tried to expand the definition of journalism by arguing that feature writers could use the same techniques to write stories about real-life events that novelists used to write about imaginary worlds. Writers like Tom Wolfe, Truman Capote, and Gay Talese, often credited with launching this movement, immersed themselves in their subjects, at times spending months in the field gathering facts through research, interviews and observation. But when they sat down to write, they produced something very different from the feature stories typically published in newspapers and magazines of the time. Instead of forcing their story into a traditional formulaic structure and institutional voice, they constructed well-developed characters, sustained dialogue, vivid scenes, and strong plot lines marked with dramatic tension. They also wrote in a voice that was distinctly their own. Their writing style, and the time and money that their in-depth research and long stories required, did not fit the needs or budgets of most newspapers (a notable exception was the New York Herald Tribune), although the editors of Esquire, The New Yorker, New York, and other prominent magazines sought out these writers and published their work with great commercial success. Many of these writers went on to publish their stories in anthologies or to write what became known as “nonfiction novels,” and many of these works became best sellers.

Fact and Fiction

The New Journalists expanded the definition of what types of stories counted as “journalism,” and what reporting and writing techniques journalists could legitimately use. They also associated journalism with fiction when they used phrases like “nonfiction novel” and “narrative techniques of fiction” in describing their work. In so doing, they ignited a debate over how much like a novel or short story a journalistic piece could be before it began violating journalism's commitment to truth and facts.

Critics praised the New Journalists for writing well-crafted, complex, and compelling stories that revitalized readers' interest in journalism and the topics covered, as well as inspiring other writers to join the profession. Other critics, however, worried that the New Journalists were tempting reporters to stray from the facts in order to write more dramatic stories; tempting them, for example, to create composite characters (melding several real people into one fictional character), compress dialogue, rearrange events, and even fabricate details. Some New Journalists freely admitted to using these techniques, arguing that they made their stories readable and publishable without sacrificing the essential truthfulness of the tale; others adamantly opposed their use, arguing that any departure from facts, however minor, discredited a story and moved it away from journalism toward fiction. As John Hersey (1914–93), the reporter who became famous for his 1946 nonfiction work Hiroshima, said in his widely quoted statement in the Yale Review: “There is one sacred rule of journalism. The writer must not invent. The legend on the license must read: NONE of THIS WAS MADE UP.”

Challenging Objectivity

In engaging in this debate over what counts as truth in journalism, the New Journalists were contributing to widespread discussion over the nature of “truth” and our ability to know and represent it objectively in stories, paintings, photographs and other representational arts. The New Journalists engaged in this larger debate by writing stories that challenged the ideology of “objectivity” and its related practices that had come to govern the profession. Some journalists and cultural critics worried that the New Journalists, by writing in a personal voice with a strong point of view and becoming immersed in their subjects, were replacing objectivity with a dangerous subjectivity that threatened to undermine the credibility of all journalism, including the heart of the profession, daily news. But the New Journalists argued that objectivity did not guarantee truth, and that objective stories could be more misleading than stories told from a clearly presented personal point of view.

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