"I thought writing about somebody current would be a little closer to what I'm used to doing"
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There is a quietly surgical honesty in Clymer admitting that writing about “somebody current” would feel closer to his habits. It’s not a grand statement about truth or objectivity; it’s a working reporter confessing the gravitational pull of the present tense. The line carries the newsroom bias that rarely gets named: recency isn’t just a timing choice, it’s a professional comfort zone. Dead subjects can’t call you back, spin you, contradict you, or generate tomorrow’s correction. Living ones can, and that risk is part of the craft Clymer is signaling he understands.
The phrasing is tellingly modest. “A little closer” understates what’s at stake, as if he’s talking about switching beats rather than switching epistemologies. Covering “somebody current” means writing under the pressure of ongoing events, real-time reputational consequences, and sources who have incentives to manage the story. It also implies access: the contemporary figure is reachable, quotable, triangulatable. The past, by contrast, is mediated through archives, memories, and the author’s interpretive authority. By choosing the current, Clymer is choosing a kind of accountability structure his muscle memory trusts.
Contextually, it reads like a journalist stepping into biography or history and acknowledging the seam between genres. The subtext: I can do the long view, but I know where my instincts are sharpest - in the messy, contested now, where facts are still hot and everyone involved has a stake in how they cool.
The phrasing is tellingly modest. “A little closer” understates what’s at stake, as if he’s talking about switching beats rather than switching epistemologies. Covering “somebody current” means writing under the pressure of ongoing events, real-time reputational consequences, and sources who have incentives to manage the story. It also implies access: the contemporary figure is reachable, quotable, triangulatable. The past, by contrast, is mediated through archives, memories, and the author’s interpretive authority. By choosing the current, Clymer is choosing a kind of accountability structure his muscle memory trusts.
Contextually, it reads like a journalist stepping into biography or history and acknowledging the seam between genres. The subtext: I can do the long view, but I know where my instincts are sharpest - in the messy, contested now, where facts are still hot and everyone involved has a stake in how they cool.
Quote Details
| Topic | Writing |
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