Tag: Narrative Nonfiction

Categories
Storytelling Writing

The Nerve of the Opening Line

For years I wrote first paragraphs that explained what I was about to say, which is a little like a joke that begins by describing how funny it is.

Susan Orlean has a better idea. In her book Joyride, she writes that a lede doesn’t need to preview the story or summarize what the rest of the piece will be about. What’s important is that it captivates readers and holds them fast to the page so they keep reading.

The conventional wisdom about ledes is that they exist to tell readers what they’re about to read. The billboard theory of the opening. Here is what this story is. Here is why it matters. Here is what you’ll find if you continue. The lede as table of contents, compressed.

Orlean is saying something stranger and more honest: the lede’s job is not to inform. It’s to hold the reader.

There’s a distinction there worth sitting with.

Informing a reader is a transaction — you transfer content, they receive it. Holding a reader is something else entirely. It’s closer to what a magician does in the first thirty seconds of a performance, or what a stranger does when they say something at a party that makes you turn and face them fully. You haven’t learned anything yet. You’ve just been made to stay.

The ledes that have held me longest tend to have almost nothing to do with the stories they open.

Joan Didion begins “The White Album” with a single sentence — “We tell ourselves stories in order to live” — that takes the entire essay to even partially fulfill.

Gay Talese opens his Frank Sinatra profile not with Sinatra’s voice or his legend but with a man going silent: “Frank Sinatra, holding a glass of bourbon in one hand and a cigarette in the other, stood in a dark corner of the bar between two attractive but fading blondes who sat waiting for him to say something. But he said nothing.”

Tracy Kidder opens The Soul of a New Machine not with computers but with a boat in a storm, Tom West awake for four straight nights while everyone else is seasick, the rest of the crew left wondering what on earth this man does for a living.

None of these ledes summarize. All of them hold.

What they share, I think, is a quality of disturbance. They’ve moved the ground slightly underfoot. Something is tilted.

Didion’s first sentence argues that we tell ourselves stories in order to live, and you feel the vertigo in it immediately — wait, is that true? Is that a good thing or a desperate thing?

Talese gives you a man diminished by illness and silence, and everything that follows is measured against that diminishment.

Kidder’s boat goes somewhere that prose about minicomputers wouldn’t, and by the time you’ve crossed that dark water with West, you’re already a different kind of reader than you were on page one.

I think about this when I try to write.

I grew up reading ledes the billboard way — I thought the first paragraph was a promise about what the reader would receive. And sometimes I still write them that way, which is to say I write them first and delete them later, because they’re stage fright disguised as generosity. Here is what I’m about to tell you really means please don’t leave before I find my footing.

The Orlean formulation — captivate, hold, keep reading — shifts the pressure off the writer’s anxiety and onto the reader’s experience. The question is no longer what do I need to tell them? The question is what will make them unable to leave?

That’s a harder question. It requires knowing something about what people can’t resist. Strangeness. Motion. A body in trouble. A door left open. The suggestion that someone knows something you don’t.

The best ledes I’ve ever written didn’t come first. They came after I’d already written the whole piece and finally understood what it was actually about — which turned out not to be the thing I thought it was about at the start. You can’t write the sentence that makes someone stay until you know what you’re asking them to stay for.

The lede isn’t a promise. It’s a wager. You’re betting that the reader will follow disturbance into the dark — and the only way to make that bet is to trust the disturbance yourself first. Most of us don’t. Most of us write the billboard because we’re afraid that if we don’t explain what’s coming, the reader will leave.

But the reader doesn’t leave because they’re confused. They leave because nothing reached out and held them.

The explanation never does that. The strangeness might.

Categories
Authors

Tracy Kidder and the Human Code

Tracy Kidder died yesterday, March 24th, of lung cancer. He was 80.

I’ve been sitting with that quiet, heavy fact for a few hours now, staring at the screen, thinking about what his work meant to me—and specifically, about the enduring legacy of The Soul of a New Machine.

On its surface, the book is a chronicle of a team of engineers and coders at Data General Corporation, racing against the clock in the early 1980s to build a 32-bit minicomputer. If you haven’t read it, that description likely sounds like the synopsis for a dry technical manual. It is, gloriously, anything but.

What Kidder did—what hit me with such force when I first turned those pages—was capture the raw, unvarnished pulse of human obsession. He didn’t just document the architecture of a machine; he mapped the architecture of the minds building it. He translated the late-night pizza runs, the bloodshot eyes, the tribal hierarchies of the engineering floor, and the strange, almost religious fervor that overtakes people when they are creating something they profoundly believe in.

He called it:

“An adventure story, a kind of cultural anthropology.”

That is exactly right.

He ventured into a world most journalists would have fumbled or fundamentally misunderstood.

The early computer industry was hyper-technical, fiercely insular, full of impenetrable jargon, and populated by brilliant minds who regarded outsiders with a polite, if dismissive, suspicion.

But Kidder didn’t blink. He embedded himself. His deep reporting and novelistic prose illuminated the basement labs of tech just as deftly as he later illuminated home construction and global disease prevention. He held a fundamental trust that the human drama playing out inside the sterile machine room was worth finding. And he found it.

Reading Soul as someone who has spent years orbiting technology, I continually find myself marveling at a different kind of engineering: how does a writer actually do this? How do you make the arcane feel intimate?

As one reviewer aptly noted at the time, “Kidder makes the telling seem absolutely effortless.” Which is, of course, the ultimate tell. Effortless prose is always the product of staggering effort.

A friend once said of his process:

“Tracy throws up on the page and cleans up afterward. He was absolutely indefatigable in the writing.”

That immense labor shows—not as the sweat of a struggling author, but as the pure clarity of a master.

What the book quietly teaches, if you’re paying attention, is a profound lesson about the nature of craft itself.

Those Data General engineers weren’t just building a minicomputer. They were building an identity, a tribe, a shared sense of purpose. They were transferring a piece of themselves into the silicon and wire. Kidder understood this alchemy. He highlighted people who had mastered their realms, elevating them into characters whose struggles rang true because they were anchored by staggering amounts of research. He believed—and subsequently proved to the world—that ordinary people doing terribly difficult things in obscure rooms were worthy of the full weight of literary attention.

That was his extraordinary gift. And it is far rarer than it sounds.

The honors and brisk sales from the book vaulted Kidder into the top ranks of American nonfiction writers. But his true legacy lives in the narrative talents he inspired. I suspect a vast number of people who went on to write serious, empathetic nonfiction about technology read Soul at some formative moment and thought: This is how it should be done. I know I was one of them.

He will be deeply missed. But the book remains, waiting on the shelf. If you haven’t read it, today feels like exactly the right day to start.

Categories
Books

The Observer Observed

I first encountered Susan Orlean not in person, but in the ashes. Specifically, the ashes of the Los Angeles Central Library. Reading The Library Book was a masterclass in how to weave a forensic investigation with a love letter to a public institution. It was reportage, but it possessed a beating heart. She has spent decades at The New Yorker perfecting the art of the “curious observer”—the person standing just to the side of the frame, noticing the detail everyone else missed.

That is why picking up Joyride felt different.

In a memoir, the observer must finally step in front of the lens. The transition from The Library Book—which is about the preservation of collective memory—to Joyride—which is about the fluidity of personal memory—is a fascinating shift. When a journalist writes a memoir, there is often a tension. They are used to looking outward, hunting for the story in orchids or arsonists. Turning that gaze inward requires a different kind of bravery.

“A commute has a destination; a joyride has only a duration.”

The title itself suggests a specific philosophy of living. It implies that the movement itself is the point. As I read, I found myself thinking about the difference between navigating a life and simply driving through it. Orlean captures that distinct feeling of the wind in your hair, the blur of the scenery, and the realization that the “plot” of our lives is often just the things that happen while we are busy steering.

We read writers like Orlean not just for what they saw, but for how they saw it. In Joyride, she reminds us that the most interesting routes are rarely the most direct ones. A great read!