"Unless you're doing a feature piece, which is going to be longer, and you have more time to get into stuff"
About this Quote
Kurt Loder’s line reads like a casual aside, but it quietly maps the power structure of modern media: time is the real editor. The phrase “unless you’re doing a feature piece” isn’t just a logistical qualifier; it’s a gate. Most stories, by default, aren’t afforded the space where complexity can survive. In Loder’s newsroom math, length equals permission: permission to “get into stuff,” to follow implications, to verify, to let people become more than a quote and a job title.
What makes the sentence work is its plainspoken pragmatism. There’s no lofty defense of longform, no romanticizing of reportage. Just an almost shrugging acknowledgment that the deeper version of the truth is structurally expensive. “Longer” and “more time” operate as twin currencies. Without them, journalism tilts toward compression, and compression tilts toward narrative shortcuts: clean conflict, clear villains, a neat takeaway. “Stuff” is doing a lot of labor here, too. It’s deliberately vague, gesturing at the messy human reality that deadlines and word counts routinely sand down.
Loder’s context matters: he became a recognizable voice in pop journalism, where speed, access, and tight formats often define the product. The subtext is a critique delivered as shop talk: the industry doesn’t just report culture, it packages it, and the package size dictates the truth you’re allowed to print. Features aren’t merely longer; they’re a rare suspension of the machine.
What makes the sentence work is its plainspoken pragmatism. There’s no lofty defense of longform, no romanticizing of reportage. Just an almost shrugging acknowledgment that the deeper version of the truth is structurally expensive. “Longer” and “more time” operate as twin currencies. Without them, journalism tilts toward compression, and compression tilts toward narrative shortcuts: clean conflict, clear villains, a neat takeaway. “Stuff” is doing a lot of labor here, too. It’s deliberately vague, gesturing at the messy human reality that deadlines and word counts routinely sand down.
Loder’s context matters: he became a recognizable voice in pop journalism, where speed, access, and tight formats often define the product. The subtext is a critique delivered as shop talk: the industry doesn’t just report culture, it packages it, and the package size dictates the truth you’re allowed to print. Features aren’t merely longer; they’re a rare suspension of the machine.
Quote Details
| Topic | Writing |
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