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A well-worn stereotype has long caricatured the American news editor. Think of Perry White in the “Superman” fantasies, Orson Welles’ Charles Foster Kane, television’s Lou Grant — or of a hundred other editions in fact and fable.
The editor of collective imagination is an ill-tempered, disagreeably likable curmudgeon, snarling at reporters and complaining readers alike, while positively relishing the comprehensive frailties of the human race — that inexhaustible wellspring of “good” stories, the kind that conjure the holy trinity of the news business: trouble, scandal and conflict.
Like most stereotypes, this one is just accurate enough, just often enough, to endure.
I have been an editor and writer for publications of various kinds for 45 years. I stumbled into this charmed racket essentially by following the advice of H.L. Mencken, who plied the scribbler’s trade with unexcelled gusto and belligerence in the first half of the 20th century. Mencken recommended that aspiring literary geniuses should support themselves with an ordinary job, at least if they couldn’t marry money. Journalism, he said, was a good option.
The news business, Mencken advised, “offers an agreeable living at small exertion.” It is “as far from literature proper as astronomy is from the pants business,” yet it “stores the memory with brilliant images of the fleeting world. It induces a pleasurable melancholy. What could be better preparation for poetry?”
That’s what I was looking for decades ago. I had started work on (I expected) my first novel, a shrewd murder mystery. The only part I actually wrote was the title. I was going to call my whodunit “Only the Young Die Young.”