Gretchen A. Peck's writing has been featured in more than 50 domestic and international publications, including translations to Spanish, Portuguese, German, and French. She has written about communications, media, and advertising; politics and public policy; rhetoric, writing, and journalism; sustainability and food-chain matters; travel and culture; dance and fine arts; legal, and other consumer-interest topics.
Her decades-long reporting on journalism and news, publishing, printing, and graphic arts has appeared in dozens of industry trade periodicals and journals, including Editor & Publisher magazine; BookTech/Book Business magazine; Publishing Executive magazine; Business Tech Edge; Dealer Communicator; Digital Output and Digital Publishing Solutions magazines; In-Plant Graphics magazine; WhatTheyThink.com, Newspapers & Technology; CREATE Magazine; Internet Publishing; Catalog Success; Artes Graficas; HOW Magazine; The Seybold Report; IPA Bulletin; Graph Expo Show Guide; American Printer; Layers Magazine; Xerox's realbusiness magazine, Broad Street Magazine, Business Ledger, and more. She "tweets" about news and publishing @GretchenAPeck.
The past few years have been remarkable for news media publishers, which have enjoyed some particularly public and powerful support. In the U.S. Congress, representatives and senators from both sides of the aisle sponsored legislative proposals that would secure press protections (the PRESS Act), get news agencies a seat at the table in negotiations with Big Tech (Journalism Competition & Preservation Act, the JCPA), and a proposal that would provide financial relief to local news businesses (the Local Journalism Sustainability Act, or LJSA).
Under Founder Steve Waldman’s direction, Rebuild Local News has been lobbying statehouse legislators to adopt bills that would provide tax credits to small businesses that advertise in local news media, to newsrooms that retain or hire more journalists and to individuals who subscribe or donate to a local news outlet.
While these champions for local news have been hard at work, powerful forces have been running a counteroffensive — undermining the press, impeding access and making it easier for members of the public and political class to sue news organizations.
For E&P’s March issue, I had the pleasure of speaking with Lisa Snowden The Baltimore Beat’s editor. Last summer, Baltimore Beat returned to the local news scene after a publishing pause. They had a somewhat quiet relaunch in late summer, when other Baltimore news outlets were basking in national attention over Baltimore’s new “newspaper wars”—pitting the new Baltimore Banner against the city’s legacy paper, the Baltimore Sun.
Snowden didn’t have much time to pay attention to that media frenzy. The veteran Baltimore journalist was busy relaunching the Beat as a nonprofit local news title for Baltimore’s Black community—61.6% of the city’s population, per the U.S. Census. It is intentionally a print title (w/ a companion site) that’s strategically distributed around the city, and it’s free.
The Baltimore Beat’s revenue model relies on philanthropy and the sustained support of the community. Snowden plans to earn that support by being a practical, accessible, go-to resource for the public.
Editor & Publisher (E&P) Magazine closes out the year with a cover story dedicated to all the journalists and editors keeping us informed during the year-end holidays. It’s a bittersweet story, as you will see, not unlike a holiday spent apart from loved ones, or the end of another year, now past. I wanted to especially thank Rob Tornoe for illustrating the cover. He so perfectly captured the moments when the newsroom is otherwise quiet, when the world around celebrates, but there’s a lead to chase, a story to tell and the public to serve.
As 2022 comes to a close, my social feeds have been heavy with news of layoffs across media and tech worlds.
It’s the loss of local news that feels most ominous. We’ll start the new year with fewer journalists in newsrooms, fewer columnists to stoke our minds, fewer visual journalists to show us new perspectives, fewer production, sales, audience and administrative pros to ensure that the news reaches subscribers and the public.
The threads that gut me most chronicle all the stories of little to great importance that journalists produced over time in service to employers and the community. There are the investigative pieces, expensive and sometimes tedious to produce; stories holding the powerful and elected to account; stories about the economy, housing, the food chain, immigration, public policy, foreign policy, crime, war, the heavy stuff.
There are endearing examples of human interest stories about the many inspiring people who contribute to our communities. There are the stories about events, art, food and local traditions that help us to feel connected to one another, to have the sense and security of a community around us.
Who will tell these stories, elevate these voices, speak these revelations when newsrooms are scuttled?
I’ve had the pleasure of another year reporting on the state of news for Editor & Publisher magazine, my 12th year with the title. It’s been a humbling, troubling, yet exhilarating year in news. Here are just a few of the stories I’ve had the privilege to tell:
My final E&P dispatch of the year is bittersweet, like the holidays or the end of a year. We wanted to tell the stories of journalists who’ve worked a newsroom, a sound booth or a TV studio on one of the major year-end holidays. We wanted to know about festivities, food (because you know that’s important to us) and newsroom traditions, but also about the memorable events reported on those holidays — a reminder that the public’s need to know never takes a holiday.
I was so grateful for all the reporters, editors, photographers, on-air hosts, everyone who shared their memories with me. Throughout those conversations ran two themes — what a privilege it is to do this job, and how so many journalists lost their jobs this year, how so many have had to (reluctantly or enthusiastically) leave the profession.
I’d like to extend a special thanks to E&P Columnist and Cartoonist Rob Tornoe, who illustrated the cover and perfectly captured the experience of chasing a lead while the newsroom is quiet and the world around you celebrates.
One recipient, Block Club Chicago, hopes to “supercharge” operations with the funding
WATCH: E&P Reports welcomes Shamus Toomey and Stephanie Lulay of Block Club Chicago, and the American Journalism Project’s Anna Nirmala and Sarabeth Berman to talk about venture philanthropy and nonprofit local news:
A pilgrimage back to the battlefields of Gettysburg
By Gretchen A. Peck
Growing up in a then-small town in mid-state Maryland, the Commonwealth of Pennsylvania always beckoned from the north. As 5th-graders, we’d travel to Camp Round Top for a standard-curriculum introduction to cabin life and campfire songs. Those who could afford it trekked up to places like Seven Springs for high-school ski trips. Towns like York and Reading appealed to our parents for stuff like farm-fresh canned goods and outlet shopping. It was rare to venture far enough east or west to get a taste of the big cities in Pennsylvania. I didn’t see Pittsburgh until I was well into my 40s, and Philadelphia eluded me until I was in college and in control of my own journeys.
Though it felt like an epic adventure back then—through the wide-eyed but impatient eyes of a child — Gettysburg was an easy day-trip destination for parents and teachers who wanted to leverage some pretty remarkable local history. As a kid, I went there twice. Both times are etched in my memory still — one a fond trip; the other, a not-so-fond trip involving a banana-seated bicycle and a flashy Mercedes-Benz.
The fonder of those two trips was with my main pal, my great-grandmother, Ruth. She was always rather independent and still felt comfortable behind the wheel of one those iron-horse American-made cars and station wagons she used to drive. I can’t be certain if she pitched the idea of a day trip to Gettysburg because she was intrigued by the history herself, or if she was just looking for a way to keep a precocious kid occupied for a span of time, but northward we went to the battlefields of Gettysburg.
I knew about Gettysburg’s history, probably because I’d read about it independently. I was a voracious, above-grade reader with an affinity for history and historic fiction. I don’t know what I expected of the battlefields there, which I knew to have claimed the lives of thousands of men, but as we drove Gettysburg’s rolling hills and past its stacked stone walls, I found them to be just pretty countryside, but otherwise unremarkable. It was hard to imagine them littered with the bodies of dead and dying soldiers. Then again, it was hard to imagine fellow countrymen turning on one another at all. It didn’t sit well with me then, as a child, and doesn’t now.
At the museum commemorating the pivotal battle, there was an interactive display — what they refer to as a cyclorama — a painting by French artist Paul Philippoteaux that offers a 360-degree depiction of the battleground’s horrors and the spoils of war. The artist shied not away from the gore, and viewing the battlefield like that helped me to imagine what those bucolic fields looked like in July 1863. I spun around, taking it all in, aghast at the blood and carnage.
There was another artifact from the museum that I thought I remembered so vividly—an old wooden table used as a makeshift operating table. As a child, I stared in horror at the rough-blade saws they used for amputation with little to soothe the wounded soldiers. The table had what appeared to be a stain, and I gasped at the thought that no one had thought to wipe away the blood before putting it on display.
Before we headed for home, my great-grandmother bought me a fold-out miniature depiction of the cyclorama, on glossy postcard stock. I unfolded it on my lap and studied it the whole way home.
I was in my 40s when I went back to Gettysburg on a cold misty-mountain day, the end of a brief but cathartic pilgrimage back to where I began. Decidedly middle-aged by then, I had new perspective on childhood homes and places of significance around my hometown. I toured it with my parents, and we spoke of memories, avoiding the hardest ones. After the visit, I packed my truck and headed north toward home in Pennsylvania. I toyed with the idea of stopping in Gettysburg, but it was threatening to rain and I kept that in the back of my mind as an excuse not to make the pitstop.
But something compelled me to retrace the steps my great-grandmother and I had walked together decades before.
I thought of her as I bought my ticket, and wandered through the exhibits. She felt beside me as I ascended the long escalator to the theater-in-the-round where they cyclorama painting is on display. I could practically hear her laughter when I walked up to the display of the operating table to see that the “stain” I’d remembered was most likely just the natural grain of the wood and some wear and tear — the blood I’d conjured were just a child’s imagination run amok.
I brushed by families and stood by myself reading the plaques and watching the video clips throughout the exhibit. I thought about the toxicity of politics, how it inherently divides up the nation into neat little categories, largely based on where and to whom we’re born. I thought of the barbarism of the war, the hand-to-hand, eye-to-eye combat, an intimate, personal war waged among neighbors and families and fellow countrymen.
It seemed to me then, even as a child, a wholly absurd notion. I felt men were to blame and women had to suffer their consequences. Now that members of Congress like Rep. Marjorie Taylor Greene (R-GA) openly flirt with the idea of civil war, like it’s the stuff of romantic nostalgia, I can no longer blame the barbarism on men alone. I do imagine that the civil war the Congresswoman pines for will not be so “fairly” fought, with men in uniforms on rural battlefields, but instead through cowardly acts of terror.
By the time I found my middle-aged self in Gettysburg back on that misty day, the nation’s politics had once again turned toxic, like a sepsis from a wound that never really healed. It’s exponentially worse now — in 2022, as we sit — so much more vitriolic, hateful, and steeped in a scourge of misinformation.
Before I left Gettysburg in my wake for that third time in my life, I stopped in the gift shop — now, a gift shop on steroids — and bought water for the ride home, a soldier bag for my husband (he’d hate it if I called it a murse, which it is), and a mug depicting the Gettysburg address for me. Just outside the gift shop sat a table where visitors could “Send a Message to the Troops” via postcard. I filled one out, and hoped it found someone out in some far-off “battlefield” and makes her or him feel thought-of and important.
I stopped to snap a selfie with a bronze statue of President Abraham Lincoln before getting on the road, just long enough to hear a strange conversation unfold between a father and son coming up the path to see the museum. “Lincoln,” the child exclaimed when he saw the statue where I was taking my selfie. “Take a picture of me, Daddy,” the little boy pleaded. There was an awkward pause before the father said, “Nah. Nah. Not now. Besides, he was on the other side.”
I thought of my great-grandmother again in that moment, by all accounts a church-going, southern, conservative Republican woman to her core. There was never any question how she came down on such matters. Slavery was immoral, a sin, and a war fought on slavery’s behalf — pitting neighbor against neighbor, countryman against countryman, brother versus brother — was, too. This was not up for debate.
She’d brought me to that hallowed battlefield to instill that in me.
It felt tragic, almost surreal, to see a child brought to that solemn place and taught otherwise — its lessons not just missed but mistaken, misrepresented, warped. Once again it feels surreal to see members of Congress masticating the possibility of bloodshed, or to read articles by pundits pondering whether Civil War in the United States is inevitable or has already begun.
With new local owners, former Gannett-owned newspapers benefit from reinvestment
By Gretchen A. Peck
Gannett remains at the top of the leaderboard for newspaper ownership. It publishes over 1,000 weekly titles and more than 100 dailies, amassed over the years through independent acquisitions and headlining mergers. But the company turned heads in the newspaper world when it recently began selling off some of those newspapers, mostly small-market and community titles that local owners were eager to buy.
The shadow of hedge fund and corporate ownership leaves newsrooms in fear they’ll be picked clean
By Gretchen A. Peck
This summer, Alden Global Capital acquired Tribune Publishing and its titles, from small community newspapers to major metro titles like its flagship, The Chicago Tribune, and The Baltimore Sun. It wasn’t the first newspaper acquisition for this hedge fund firm, nor is it the only firm of its kind eyeing the nation’s newspapers. But this acquisition was profound, making Alden Global Capital the owner, in effect, of more than 200 newspapers across the land. It was a deal rife with drama, as the Tribune newsrooms publicly pleaded for some other savior. In the end, no eccentric billionaire philanthropist descended on the scene to save them. Instead, the newsrooms steeled themselves for the future.
Relationships with sources are more scrutinized and more complicated than ever
By Gretchen A. Peck
Access journalism. Follow threads about the press or conversations among journalists and it’s bound to come up in discussion. Fundamentally, access journalism occurs when reporters value landing a source more than the information gleaned from that source.
But what do readers, viewers, or other members of the public mean when they use the term as criticism? Is it simply expedient and pithy, just a new way to disparage the press?
More importantly, what does the practice or appearance of access journalism mean to the trust audiences and the public place in their news sources? And how should we prepare new journalists coming into the field for navigating the access minefield?
Audio is a platform unlike any other, in that it closes the distance—physically and cognitively—between the listener and host and guests. In conversations with people who podcast, you’ll hear the word “intimate” used a lot to describe the relationship between listener and the voices emanating from their earbuds. It’s as if there’s no one else in the equation, as if you’re being told a story just for you.
For news organizations increasingly reliant on audience more than advertising, audio is proving to be a platform that makes those connections, builds trust and familiarity, and solidifies those relationships.