"I was fortunate that I was at newspapers for eight years, where I wrote at least five or six stories every week. You get used to interviewing lots of different people about a lot of different things. And they aren't things you know about until you do the story"
About this Quote
There is a quiet rebuke tucked into Klosterman's casual math: five or six stories a week for eight years isn’t a humblebrag, it’s an argument about craft. He’s reminding you that writing isn’t born from having opinions; it’s built through repetition, deadlines, and the awkward, unglamorous act of calling strangers and asking basic questions. The “fortunate” framing signals something else too: this kind of apprenticeship is increasingly rare in a media economy that prizes voice and brand over sheer reported volume.
The line “they aren’t things you know about until you do the story” undercuts the modern expectation that cultural critics should arrive pre-armed with mastery. Klosterman’s subtext is anti-expertise in the best way: knowledge is not a credential you bring to the work, it’s a product of the work. That’s a journalist’s muscle memory, and it’s also a defense of curiosity as method. Interviewing “lots of different people about a lot of different things” reads like a recipe for range, but it’s really a training regimen for humility: you repeatedly encounter how little you know, then you learn in public.
Context matters here because Klosterman’s persona is often associated with clever takes and pop-cultural omniscience. He’s pulling the curtain back to show the machinery: the voice comes after the labor. The intent isn’t nostalgia for newspapers so much as a warning that without that grind, criticism can drift into self-referential punditry, all certainty and no reported surprise.
The line “they aren’t things you know about until you do the story” undercuts the modern expectation that cultural critics should arrive pre-armed with mastery. Klosterman’s subtext is anti-expertise in the best way: knowledge is not a credential you bring to the work, it’s a product of the work. That’s a journalist’s muscle memory, and it’s also a defense of curiosity as method. Interviewing “lots of different people about a lot of different things” reads like a recipe for range, but it’s really a training regimen for humility: you repeatedly encounter how little you know, then you learn in public.
Context matters here because Klosterman’s persona is often associated with clever takes and pop-cultural omniscience. He’s pulling the curtain back to show the machinery: the voice comes after the labor. The intent isn’t nostalgia for newspapers so much as a warning that without that grind, criticism can drift into self-referential punditry, all certainty and no reported surprise.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
More Quotes by Chuck
Add to List





