"I look for something that is highly unusual, involving ordinary people caught in extraordinary situations"
About this Quote
Walter Lord is describing a narrative trigger that sounds modest but is quietly ruthless: take the “ordinary” and place it under pressure until it reveals something we recognize and something we’d rather not. The intent isn’t novelty for novelty’s sake. It’s a method for making history or reportage feel intimate without turning it into pure sentiment. By insisting on “ordinary people,” Lord rejects the great-man story; by demanding “extraordinary situations,” he avoids the flatness of everyday realism. The collision is the point.
The subtext is democratic and slightly grim. Ordinary people are not presented as saints-in-waiting; they’re test subjects for circumstance. Extraordinary events strip away the social scripts we use to manage impressions. In a crisis, character becomes visible because options narrow: who helps, who freezes, who bargains, who lies. Lord’s phrasing also smuggles in a promise to the reader: you don’t need specialized knowledge to enter the story. You just need a body, a conscience, and the capacity to imagine being trapped, lost, or suddenly responsible.
Context matters: Lord built a career on narrative history that reads like a thriller, most famously A Night to Remember, his reconstruction of the Titanic disaster. That book works precisely because the ship is a stage for class, technology, and arrogance, but the emotional voltage comes from clerks, stewards, immigrants, and officers trying to improvise dignity in a system that’s failing. Lord’s “highly unusual” is the hook; the ordinary human response is the evidence.
The subtext is democratic and slightly grim. Ordinary people are not presented as saints-in-waiting; they’re test subjects for circumstance. Extraordinary events strip away the social scripts we use to manage impressions. In a crisis, character becomes visible because options narrow: who helps, who freezes, who bargains, who lies. Lord’s phrasing also smuggles in a promise to the reader: you don’t need specialized knowledge to enter the story. You just need a body, a conscience, and the capacity to imagine being trapped, lost, or suddenly responsible.
Context matters: Lord built a career on narrative history that reads like a thriller, most famously A Night to Remember, his reconstruction of the Titanic disaster. That book works precisely because the ship is a stage for class, technology, and arrogance, but the emotional voltage comes from clerks, stewards, immigrants, and officers trying to improvise dignity in a system that’s failing. Lord’s “highly unusual” is the hook; the ordinary human response is the evidence.
Quote Details
| Topic | Writing |
|---|---|
| Source | Help us find the source |
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