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Arts & Entertainment

Case Study: Language and Emotion in "Something Borrowed"

Malcolm Gladwell

Lesson time 15:08 min

Using his essay “Something Borrowed” as an example, Malcolm demonstrates how to use language and emotion to build a powerful narrative.

Malcolm Gladwell
Teaches Writing
In 24 lessons, the author of Blink and The Tipping Point teaches you how to find, research, and write stories that capture big ideas.
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So I had done a piece for "The New Yorker" many years ago about a psychiatrist named Dorothy Lewis, whose specialty was serial killers. And it was long, long article, kind of a profile of her work-- her and her work. 10 years pass and a British playwright named Bryony Lavery wrote a play-- a very good play-- in which some of the dialogue-- a good portion of the dialogue-- had been lifted directly from my article. Maybe 15 or 20 lines, I can't remember how much. This was brought to my attention and my initial reaction was, this is outrageous. She stole my work. And then I read the play. I was like, actually, the play's really good. And then I thought, well, maybe I should meet the playwright and find out what happened. So I called her up and we had a long, really interesting conversation. She was incredibly apologetic. The more I thought about it, the more I realized, why did I think I was victimized? Like, it seemed like an odd-- I couldn't-- I couldn't figure out why I was victimized. So she didn't take my entire article, put her name on it, publish it, and make money off it. That's theft. That's clear to me. She took a little-- she read my article, was very inspired by it to write a really good work of fiction. And she took a small piece of text in 20 lines out of a 7,000-word piece, and other little details, and plugged them into her fictionalized narrative. She was taking my work and turning a small part of it-- the idea and small part of the building blocks of it-- into something new and really good. She had contrived to create art out of a work of nonfiction. Why wasn't I-- as I thought about it, I realized, why was my first reaction not to be flattered? I mean, how often does that happen? Not only that, she took it and the show ran on Broadway and got incredible reviews. I mean, what was my problem? was essentially, when I-- as I thought about it. And it was then-- it was when I realized that I didn't-- that I had that reaction that I realized, oh, this is a case where I think I can write in the first person. Because I do have an interesting story to tell. Because we've all read, a million times, the story about the writer who's plagiarized. And it's-- they're full of outrage and they're-- they act as if, you know, they had built some-- they had written the Bible and someone had ripped it off and was selling it at Walmart under their name, you know? And I've read that story so many times now. I don't want to read another one of those. So that was my-- why, I would never have written about this had it-- had I-- had I had the conventional response. But once I realized that actually I was flattered on some level to have participated in a work of artistic transformation, that I thought, well, actually, this is a case where people might actually be interested in my story. And then when I realized, wait, this is a great way to talk about the way art is created and how we're very dishonest about it, and that all art is...

Transform the ordinary

Ketchup. Crime. Quarterbacks. Thanks to Malcolm Gladwell’s books, these ordinary subjects have helped millions of readers grasp complex ideas like behavioral economics and performance prediction. Now, the renowned storyteller and best-selling author of Blink and The Tipping Point is teaching his first online writing class. Craft stories that captivate by learning how Malcolm researches topics, crafts characters, and distills big ideas into simple, powerful narratives.


Students give MasterClass an average rating of 4.7 out of 5 stars.

I listened diligently to his class the first time, took notes, and worked on my own story. I learn more every time I listen to the class. Great!

I looked at many different aspects of non-fiction writing. Some tips about the process are very useful, and I will use them in the future.

Loving it so far. Malcolm is so pleasantly normal.

completely relevant to what I was looking for in a writing class. Learnt lots and need to go through again and take down notes this time.



A difficult and very unfortunate story. I see the only failing was that she did not in a foot note or bibliography give him some credit for inspiration and refer to the article. However I am not clear how from the point of his receiving the information how it turned into a major public scandal which seems to have ruined her career if not her life. Someone intentionally stealing another's thoughts or ideas would try to mask it by rewording it but if she didn't it was simply that those words spoke to her and said better than she could what was necessary for her play. If he did not make it public, who did?? I hate that people don't mind their own business. It is true there are great transgressions of plagiarism in all the arts and sciences but it is not an every day occurrence and before ruining someone it would be worthwhile to get the facts. The truth is that there is really very little new and original. Everything is a reworking of what has been evolving since more than 6,000 years and beyond.

A fellow student

Very nice of him to not take legal action against someone who plagiarized his work, also kind of cool to take inspiration from that experience to create a story of it. Also great point of writers being protective of their labor


I commented below on "Language and emotion in Something Borrowed." not Jargon


I really liked this lesson! Let you think about intellectual copyright!! And I would like to read the entire 'something borrowed' I really enjoy the classes.

Russell H.

In terms of character description, the narrative moment is their meeting in New York. Malcolm sets the mood for the meeting through his reference to the weather being a “beautiful Saturday afternoon”. It’s not dark, miserable or foreboding. His description of Lavery’s appearance evokes a character who is comfortable in her own skin, somewhat alternative hence his reference to her “clogs” and in his own judgement she is “rugged and raw”. Through these words, Malcolm conveys there appears to be a genuine honesty about her and gives us, the reader, scope to forgive. Through this story he analyses the wider underlying issues inherent within the notion of intellectual copyright. Additionally, how positions on this can serve to stifle artistic creativity. As one of the injured parties within this story, he certainly leaves his ego out of his analysis. But, as a direct participant within it, he inserts his own thoughts and feelings on the notion of intellectual copyright and its impact on the evolving artistic process. He ends the piece with the moment when Lavery cries. By ending here the article transports the reader from an initial position of disapproval, through a consideration of the wider issues related to intellectual copyright, its adverse impact on the process of artistic creativity, to bring the reader to an end position of sympathy for Lavery. The structure of this article hammers home several key points Malcolm has been stressing in previous lessons: “structure is your friend”, “figure out how to tell the story”, “cultivate surprise”, “It’s when I tell you that thing that makes all the difference,” “the best kind of writing …..identifies those details that stand in for a much larger argument ”, “You can’t hide your personality when you write. It comes out loud and clear”, “You don’t need to be Proust and do pages and pages and pages of description”, “Once I have turned her from a name on a page into someone who’s flesh and blood, then I expedite the process by which you embrace her as a person and her choices”, “ Sadness has to be authentic”. All these elements are right there in this one article “Something Borrowed”. Absolutely fabulous!

Susannah W.

It certainly elucidates the "plagiarism" story to read the attached article. (Lesson pdf: appendix) The writer (Lavery) credited her main source but - it is explained - justifiably doesn't register the very factual, scientific and impersonal analysis taken from MG's non-fic article as being a source of the same emotional significance and personal cost. Read the article. I think MG makes a key point here, and one that goes hand-in-hand with several of his 'leave your ego at the door, guys' nudges in other lessons.

Jennie C.

Liked his point about writers not being "generous enough." I agree with you with Lisa, all she had to do was credit him, and her professional life would have been simpler. He definitely used his journalistic skills to examine the kind of person she was without coming out and asking why she plagiarized...nice technique of storytelling while analyzing clothing, body, and so on...

Lisa S.

Very interesting course and module but I am a little puzzled - the play writer could easily have used the lines as a quote and credited Malcolm for them in acknowledgements etc. The fact that she didn't makes the situation somewhat awkward.

Elizabeth R.

What is it--was it T.S. Eliot, or someone who said, Bad writers imitate, good writers steal! Still a very good discussion of this very complex relationship between a writer, and another writer who has built upon the work of the first to create and transform that writer's work. Hope I conveyed that right. I really got a lot out of the extent of the thinking Malcolm went through to arrive at the conclusions he eventually drew. I enjoy his discussions of his process.

M A.

His Wal-Mart Bible remark was funny because it's ridiculous and then it was even funnier because it's true.