As a wine writer, never forget that you serve the reader, not the producer, importer or retailer. The interests and needs of the

Men have been writing about vinous matters since long before they had pen, ink or paper to record their thoughts. Even the Bible refers to wine on over 200 occassions, but few of us can cite any of them other than Jesus’ first miracle of turning water into wine at a wedding in Cana.

Wine writing as a systematic exploration, however, really only began in the 19th century with the French writer and merchant André Jullien. Even then, it remained a relatively arcane area of knowledge until the 20th century when the great expansion of vineyard plantings outside European began bringing wine to a larger number of people in ever new markets. Indeed, outside producing areas themselves, the drinking of fine wine had traditionally been the reserve of a wealthy European elite.

Interestingly, the wine literature of the English speaking world, which today pervades the globe, was first developed by two foreigners in the early 20th century. One was the Frenchman André Simon who made his mark in Great Britain as a merchant, historian and later wine writer; the other was the Russian Alexis Lichine, who - according to Frank J. Prial of the New York Times - “loved France, hated the French and taught Americans to drink wine.” No one, it seems, is a prophet in his own land.

In those days, wine writing was still closer to Homer than to Robert Parker. André Simon famously described one wine as “a girl of fifteen, who is already a great artist, coming on tip-toe and curtseying herself out with childish grace and laughing blue eyes.” His poetic style had a profound influence on two seminal writers of our generation, Michael Broadbent (also a member of the trade in his days as head of Christie’s wine department) and Hugh Johnson, both of whom called Simon's figures of speech and choice of phrases “deliciously oblique”.

Although it appears self evident today that journalists provide the chief interface between producers and consumers, this is really a rather recent development. For centuries, the winemakers themselves, oenologists (remember Emile Peynaud in France and André Tchelistcheff in California), brokers, shippers and merchants were the most important voices in judging the value of the wines made in any given region. This is only natural, for who else knows better the inherent quality of any given wine in each vintage than the people who make, market and sell it? Although a potential conflict of interest was always present, for years those involved in the trade operated with complete honesty.

It was only in the past generation, and in particular in Bordeaux, that their credibility began to unravel. Because of existing stock on the market, professionals trading claret tried to present the superb 1982 vintage as mediocre and then, as demand soared, wanted to sell the lesser 1983s as superior. The public didn’t buy either story, though, and journalists began to assume a more important role in informing the consumer about the wines he should buy.

Two critical schools

Two different currents, however, developed in this vacuum. The first was the educated English approach epitomised by the Masters of Wine, whose members understand not only the product, but also the problems of commercialisation and the cultural differences in its distribution. The second was the transaltlantique consumer approach following the theories of Ralph Nader that wanted to provide the consumer with the best possible product at the lowest possible price.

Robert Parker at the Wine Advocate and Steve Tanzer from the International Wine Cellar are the two longest standing acolytes of this latter school. Interestingly, both began publishing their newsletters - devoid of advertising - at the same time and long had a similar following. Although numerous producers will tell you that Steve Tanzer is the better taster, probably because he judges wines the way they do themselves, Robert Parker now certainly has the greater influence because consumers can easily identify with his likes, simple prose and high scores. The public still talks about his ratings (Parker Points) as if they were his own, but he now has writers to cover regions he does not particularly like, know well or have time to visit.

Indeed, it has become difficult for anyone to know even one region well, much less the world. The danger in trying to cover everything is to become a jack of all trades, but master of none. With the exception of David Schildknecht, none of Parker’s minions have the reputation today of Michel Bettane in France, Alessandro Masnaghetti in Italy or José Penin in Spain. However, because these three preeminent European wine journalists do not write in English, only Michel Bettane is - to an extent - known beyond his own borders.

Essential to a professional wine writer

To make an impact, a writer must have a true understanding of wine with all it historical, cultural and technical implications - and years of experience and serious research. It is not a badge that you purchase after a few tastings, an inocuous certificate or simply googling on the internet.

Taste is obviously the most important factor for a wine journalist to master, but the most difficult to portray in words. This demands extreme precision in order to remain fair, transparent and credible to readers.

The most crucial axe, however, is honesty and integrity (which includes admitting one’s own shortcomings, errors and ideologies). Judging wine is too often affected by personal, political or cultural values. In Europe, the current infatuation with ‘natural wine’ is a perfect example. Accepting rustic, even oxidised wines as good, merely because they fit the ideologically mould is a fatal error.

These ethical guidelines are all the more important because wine writing is poorly remunerated for most of those practicing it; yet the research required is expensive and takes time. The cost of flights, hotels and hired cars is very different from the price of a movie ticket for the cinema reviewer or a dinner for the food writer.

Passion and patience

The British approach lead to an American backlash in the form of the dispassionate 100 point system that has made wine little more than an object to be rated on a scale. A score, though, is not an absolute, but merely an indication of preference. How will that influence China?

Although it produces its own wines, China has begun to take a keen interest in international ‘alternatives’. Atune, though, to Chinese sensibilities and culinary traditions, those gifted writers who emerge over the coming decade will be for more credible voices for the Chinese market than the foreigners who today pretend to know what the Chinese should drink, why and with what.

Nevertheless, the world of fine wine is so complex that much remains to be learned for any budding wine journalist. It will take time for credible wine writers to establish their reputations. To do so demands not only passion, but also a broad education, a keen palate, social competence, writing talent and patience.

Call out Box

In my thirty years as a wine journalist, I have met numerous well-educated gentlemen in the trade who taste well, but cannot write intelligeably about their impressions. On the other hand, there are many others who write well, but have only limited knowledge of the wine world - and are often not the best palates. The rare few who do both well are those you should be reading.

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