The state of wine writing in 2020
My fifth annual summary of how wine writing is faring, with a (mostly) UK focus.
In 2020, there were far more important things to worry about than wine writing, but for those of us who still make a living from it (more or less), here’s an overview of how things stand at the end of the year.
Once again, there have been no changes at UK newspaper columns this year: the nine main writers still have their regular slots. It’s almost impossible to imagine who would replace Jancis Robinson, Jane MacQuitty and Victoria Moore at the Financial Times, The Times and The Daily Telegraph respectively - and indeed, I wonder if an editor would have the budget to continue paying a new wine writer.
(Incidentally, Wine-Pages has an interesting recent discussion about apparent wine advertorial on the Financial Times website.)
The main development in consumer magazines is the continued rise of Club Oenologique, who recruited Guy Woodward (formerly editor at Decanter) full time this year. There’s no doubt in my mind that the print edition is the best-looking English-language wine periodical out there, with a great mix of articles too.
The most recent covers of the four major UK wine magazines
Otherwise, Decanter, Noble Rot and World of Fine Wine continue much as before, despite the permanent challenge of making print profitable. The title Root + Vine, which launched in 2018, seems to have lasted only one edition.
Another casualty of 2020 was trade magazine Imbibe. The other UK trade publications Harpers and Drinks Retailing News continue for now, although they can’t be finding it easy - my regular column in the most recent issue of DRN was paused because they don’t have the budget.
BOOKS
It’s been another bumper year for wine books - at least 32, by my count. Both Noble Rot and 67 Pall Mall published books on wine, which is probably as much about extending the brand as generating income. Indeed, the vast majority of wine book authors never make more than a pittance for their work - but that is to miss the point.
Despite the dominance of the internet, books remain the definitive way to demonstrate your authority on a subject, and having a tangible object with your name on the cover carries value that the online world will never be able to match. They may not make much (or any) money, but they are an important factor in establishing a reputation that will hopefully generate income from other sources.
ONLINE
Websites are inevitably where the majority of wine writing is published these days. Vinous.com continues to expand, recruiting both Eric Guido and Rebecca Gibb MW to its editorial team this year, while Matthew Hayes became a contributor to JancisRobinson.com.
Tim Atkin’s website has been publishing more and more content. I thoroughly enjoyed jazz musician Tom Hewson’s debut piece, as well as many by Peter Pharos, Margaret Rand, and Tim himself, of course. Club Oenologique’s website has also been publishing loads of good writing too, including one of my favourite pieces of the year by Alice Lascelles: How newcomers are changing the drinks world for the better.
In fact, both the quality and quantity of wine writing online has been one of the few causes for celebration this year, with several new voices emerging and plenty of engaging, entertaining articles to read.
Unfortunately, these positive stories were undermined by a huge controversy in the wine writing world: the #winebitch saga.
In a series of would-be satires, an anonymous author wrote personal attacks on many people in the British wine trade, often in a vitriolic and lurid manner. The passages directed at women had particularly unpleasant undertones. After months of speculation, the writer was confirmed as Joe Fattorini, who subsequently apologised, both directly to those he had targeted, and via a public blog post.
This was the lowest point for wine writing in the UK, not just in 2020 but for as long as most people can remember. In some instances, the pieces not only caused offence but also severe distress - although I gather that most of those affected now prefer to move on rather than seek further retribution.
For the sake of everyone writing about wine, I hope that the focus will return to the positive side of wine. Most of us will be bidding 2020 a firm good riddance, and I am optimistic that we can make 2021 a better year.