"I came up with new leads for game stories by being observant and clever, by using the many gifts of the English language to intrigue and hook a reader"
About this Quote
A good sports story, Dick Schaap implies, isn’t found in the box score; it’s engineered on the page. He frames reporting as a two-part craft: the fieldwork of attention ("observant and clever") and the stagecraft of voice ("the many gifts of the English language"). That pairing is a quiet rebuke to the idea that sports journalism is just transcription with adjectives. Schaap is staking a claim that “leads” aren’t merely the first paragraph but the first act: the place where a writer earns the reader’s trust by making familiar rituals feel newly consequential.
The intent is practical and a little competitive. “New leads” signals pressure: deadlines, sameness, the endless churn of games that look like the games before them. His solution isn’t gimmickry; it’s precision. Observation supplies the raw material - the sidelong detail, the odd quote, the micro-drama everyone else missed. “Clever” hints at structure: the surprising angle, the delayed reveal, the metaphor that doesn’t condescend. Then comes the language, described not as ornament but as a set of tools designed to “intrigue and hook.” Schaap is admitting that readers need seduction. Information is necessary; attention is scarce.
In context, Schaap wrote in an era when marquee columnists helped define how America consumed sports: not just as results, but as narrative, status, personality. The subtext is both proud and anxious: if the game is a commodity, the writer’s edge is the sentence. He’s defending the lead as literature’s beachhead inside a daily paper.
The intent is practical and a little competitive. “New leads” signals pressure: deadlines, sameness, the endless churn of games that look like the games before them. His solution isn’t gimmickry; it’s precision. Observation supplies the raw material - the sidelong detail, the odd quote, the micro-drama everyone else missed. “Clever” hints at structure: the surprising angle, the delayed reveal, the metaphor that doesn’t condescend. Then comes the language, described not as ornament but as a set of tools designed to “intrigue and hook.” Schaap is admitting that readers need seduction. Information is necessary; attention is scarce.
In context, Schaap wrote in an era when marquee columnists helped define how America consumed sports: not just as results, but as narrative, status, personality. The subtext is both proud and anxious: if the game is a commodity, the writer’s edge is the sentence. He’s defending the lead as literature’s beachhead inside a daily paper.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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