Читать книгу The Selected Works of Arnold Bennett: Essays, Personal Development Books & Articles - Arnold Bennett - Страница 37

I come now to the higher branch of journalism, that which is connected, more or less remotely, with literature. This branch merges with the lower branch in the person of the “descriptive-reporter,” who may be a genius with the wages of an ambassador, like the late G. W. Steevens, or a mere hack who describes the Lord Mayor’s procession and writes “stalwart emissaries of the law” when he means policemen. It includes, besides the aristocracy of descriptive reporting, reviewers, dramatic and other critics, financial experts, fashion-writers, paragraphists, miscellaneous contributors regular and irregular, assorted leader-writers, assistant editors, and editors; I believe that newspaper proprietors also like to fancy themselves journalists. Very few ornaments of the creative branch of journalism become so by deliberate intention from the beginning. The average creative journalist enters his profession by “drifting” into it; the verb “to drift” is always used in this connection; the natural and proper assumption is that he was swept away on the flood of a powerful instinct. He makes a timid start by what is called “freelancing,” that is, sending an unsolicited contribution to a paper in the hope that it will be accepted and paid for. He continues to shoot out unsolicited contributions in all directions until one is at length taken; then he thinks his fortune is made. In due course he gradually establishes a connection with one or more papers; perhaps he writes a book. On a day he suddenly perceives that an editor actually respects and relies on him; he is asked to “come into the office” sometimes, to do “things,” and at last he gets the offer of an appointment. Lo! he is a full-fledged journalist; yet the intermediate stages leading from his first amateurish aspiring to his achieved position have been so slight, vague, and uncertain, that he can explain them neither to himself nor to others. He has "drifted into journalism.” And let me say here that he has done the right thing. It is always better to enter a newspaper office from towards the top than from towards the bottom. It is, in my opinion, an error of tactics for a youth with a marked bent towards journalism, to join a staff at an early age as a proof-reader, reporter, or assistant sub-editor; he is apt to sink into a groove, to be obsessed by the routine instead of the romance of journalism, and to lose intellectual elasticity.

The creative branch of journalism is proportionately no better paid than the mechanical branch. The highest journalistic post in the kingdom is reputed to be worth three thousand a year, an income at which scores of lawyers, grocers, bishops, music-hall artistes, and novelists would turn up their noses. A thousand a year is a handsome salary for the editor of a first-class organ; some editors of first-class organs receive much less, few receive more. (The London County Council employs eleven officers at a salary of over a thousand a year each, and five at a thousand each.) An assistant editor is worth something less than half an editor, while an advertisement manager is worth an editor and an assistant editor added together. A leader-writer may receive from four hundred to a thousand a year. No man can earn an adequate livelihood as a book-reviewer or a dramatic or musical critic, pure and simple; but a few women by much industry contrive to flourish by fashion - writing alone. The life of a man without a regular appointment who exists as a freelance may be adventurous, but it is scarcely worth living. The rate of pay for journalistic contributions varies from seven and sixpence to two guineas per thousand words; the average is probably under a pound; not a dozen men in London get more than two guineas a thousand for unsigned irregular contributions. A journalist at once brilliant, reliable, industrious, and enterprising, may be absolutely sure of a reasonably good income, provided he keeps clear of editorships and does not identify himself too prominently with any single paper. If he commits either of these indiscretions, his welfare largely depends on the unwillingness of his proprietor to sell his paper. A change of proprietorship usually means a change of editors and of prominent contributors, and there are few more pathetic sights in Fleet Street than the Famous Journalist dismissed through no fault of his own.

On the whole, it cannot be made too clear that journalism is never a gold-mine except for newspaper proprietors, and not always for them. The journalist sells his brains in a weak market Other things being equal, he receives decidedly less than he would receive in any pursuit save those of the graphic arts, sculpture, and music. He must console himself by meditating upon the romance, the publicity, and the influential character of his profession. Whether these intangible things are a sufficient consolation to the able, conscientious man who gives his best for, say, three or four hundred a year and the prospect of a precarious old age, is a question happily beyond the scope of my treatise.