"I view myself primarily as a trial lawyer who happens to be writing, as opposed to a writer who happens to be a trial lawyer, so the audience is like a jury to me"
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Bugliosi’s line is a power move disguised as modesty: he’s not asking to be admired as a stylist; he’s insisting on being believed. Calling himself “primarily a trial lawyer” reframes writing as advocacy, not self-expression. The audience isn’t a cozy circle of readers but a panel that must be persuaded past reasonable doubt. That swap matters because it tells you how he thinks truth gets made in public life: not discovered privately, but argued into acceptance.
The subtext is tactical. A writer can be accused of spinning; a lawyer claims a higher-stakes discipline - evidence, narrative order, anticipating objections. Bugliosi’s books, especially his Manson work, trade on that posture: exhaustive documentation, a prosecutorial cadence, the sense that every detail has a job. He invites you to sit in judgment, then quietly loads the courtroom with his exhibits. Even the phrase “happens to be writing” minimizes artistry to elevate authority.
Context sharpens it. Bugliosi became a celebrity prosecutor in an era when true crime and media spectacle were fusing into a single national pastime. The Manson trial wasn’t just adjudication; it was culture war theater. By casting readers as jurors, he positions himself against the idea that crime narratives are entertainment. They’re civic proceedings, with him as the one competent guide through chaos.
There’s also an ethical gamble here: juries are supposed to be impartial, but a lawyer’s job is to win. Bugliosi’s metaphor admits the project isn’t neutral reportage. It’s persuasion with footnotes.
The subtext is tactical. A writer can be accused of spinning; a lawyer claims a higher-stakes discipline - evidence, narrative order, anticipating objections. Bugliosi’s books, especially his Manson work, trade on that posture: exhaustive documentation, a prosecutorial cadence, the sense that every detail has a job. He invites you to sit in judgment, then quietly loads the courtroom with his exhibits. Even the phrase “happens to be writing” minimizes artistry to elevate authority.
Context sharpens it. Bugliosi became a celebrity prosecutor in an era when true crime and media spectacle were fusing into a single national pastime. The Manson trial wasn’t just adjudication; it was culture war theater. By casting readers as jurors, he positions himself against the idea that crime narratives are entertainment. They’re civic proceedings, with him as the one competent guide through chaos.
There’s also an ethical gamble here: juries are supposed to be impartial, but a lawyer’s job is to win. Bugliosi’s metaphor admits the project isn’t neutral reportage. It’s persuasion with footnotes.
Quote Details
| Topic | Writing |
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