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Goodbye, 600

They threw a big party at the Charlotte Observer on Thursday. You could also get by with calling it a wake. The reason for the party was that the newspaper is moving out of the building it has lived in since 1970, on the spot where the newspaper has been published since 1927. The reason for the wake had nothing to do with concrete and steel. It was about the people who make newspapers, and what they believe in.

Hundreds of people filled the lobby of the old building at 600 S. Tryon St. There were Pulitzer winners, and people who sold millions in ads, and circulation directors who figured out how to get the paper on the doorsteps of hundreds of thousands of people at 6 in the morning every day. There was Cynthia McCarter, the security guard who knows the building like a mama knows her child, and Gladys Shamblin, who could get the phones working when God and AT&T had no idea how. People had taken off work and used up vacation time. Gary O’Brien, the great photographer, flew in from Tucson, Arizona. I can’t remember the last time I hugged so many necks.

The old building doesn’t have much going for it but memories. It has always been ugly. The newsroom on the fourth floor has narrow slitted windows that would be useful in case of a Viking invasion but are terrible for letting in light. The escalators break so often that the one safe job at the paper was escalator repairman. In the last few years the elevators started trapping people, and sometimes the doors open and close on their own, like a scene from “The Shining.” A few years ago the paper sold the building to its parent company’s pension fund, and the pension fund sold it to developers. It will surely be a teardown. I would pay a fair amount of money to push the plunger that blows the building up.

But the Observer is not leaving because the building is decrepit. They’re leaving because the staff needs only a fraction of the space. The Observer has shed employees by the hundreds in the last eight or 10 years, just like every other paper of any size in this country, because the ways newspapers used to make money are gone. Classified ads, which used to fill entire sections of the paper, vanished into Craigslist. Businesses took most of their display ads online, for a fraction of the cost, or just built their own websites. The printed paper is still a moneymaker, but younger readers don’t want it. The Observer (and most other papers) have more readers than ever when you add print and online, and the money from the digital side is growing, but it’s not enough to cover the nut.

None of this is new. You’ve heard it for years. What you might not have heard is the distant quiet of an empty newsroom. What you might not have seen is the vast vacant mailroom, big enough for two basketball courts, where dozens of workers stuffed sales papers and coupons into the daily paper. They moved that operation out of the building years ago, along with the presses two stories below that used to rumble all day with editions that went to every corner of both Carolinas. There was a huge window in the lobby where you could watch the presses run. Some nights, when I had a big story in the next day’s paper, I’d stand and watch for a while on my way out the door. The papers rolled off the presses and wound through the pressroom, too fast to keep track of, like blood coursing through a giant beast. I could feel it in my heart.

There’s a mural covering that big window now, so you can’t see the empty room behind it.

 

*****

 

We believed. No, that’s wrong: We believe. Still do. We believe in what a newspaper means to a city. A great newspaper tells stories and raises hell. It helps you figure out what your government is doing and what you can do about it. It shows you where to buy a new car or a pair of shoes. It gives you a crossword puzzle to work on with your morning coffee. It is a public utility. You turn it on and it’s there like the water or the lights.

It’s hard work putting out a great paper. “You’re gonna cry,” somebody said Thursday when I walked into the newsroom. “It’s OK,” I said. “I’ve cried in here plenty of times before.” The Observer has never been a shouting-type place — you rarely even heard a door slam — but there have been plenty of uncomfortable conversations, and quiet seething anger, and gripe sessions down at the vending machines. This is the same as pretty much any situation when strong creative people work on something together. I read about a TV writers’ room one time, and somebody said that no matter how heated it got in there, the same rule always applied: Best idea wins. At the Observer, the best idea usually wins.

The upside is that most days it was a glorious place to work. You didn’t have to wear a suit and nobody shivered in fear when the boss came through the door. One of my all-time favorite Observer moments is when the new CEO of our parent company came to town on his tour of the newspapers the company owned. He gave a brief speech and asked if anybody had questions. Binyamin Appelbaum, one of our business reporters, asked the CEO to name some good work he’d read in the papers he was now in charge of. The CEO’s second-in-command jumped in to answer the question, but Binya stopped him. “No,” he said, pointing at the CEO. “I want HIM to answer.” At a lot of other places, he might’ve gotten fired for that. At the Observer, we were taught to hold powerful people accountable — no matter who. (Binya, by the way, is now killing it as an economics reporter for The New York Times.)

What I still haven’t gotten to, way too far into this story, is how much fun it was. I’ve been gone from the paper nearly four years now and the thing I miss the most is just coming into the newsroom and shooting the shit with people I enjoy being around. It’s such a joy to work with smart, committed people who care about the same things you care about. We would pass around stories we loved, or crazy reader emails that made us laugh. We’d idle away downtime with endless debates or silly contests. The art department used to have an epic Nerf basketball game that involved complicated rules and shots made from various spots around their office. Every so often you’d hear a gigantic roar in there, and you’d know somebody made the full-court shot from the other end of the room.

The best times were when a big story broke. All the petty disputes, all the efforts to avoid work that day, all that was dropped in an instant and the giant machinery of the newsroom meshed together. It was like watching a pile of parts assemble itself into a precision clock. To work with a group of absolute professionals putting together a package of stories on a tight deadline … there will never be anything better in my working life. And once you’re in it you see how many people it takes to do it right — from the people answering the phones to the copy editors saving us from errors to countless other people whose names you never see in the daily report, but who are in there just as deep as the electrons and ink.

I’ve written a lot of this in past tense, because I don’t work at the paper anymore, but the present tense holds. There aren’t as many people who work there now, but they still do great work every day — more than every other media outlet in town put together. Wherever you’re reading this, that’s probably true in your city, too. We have far more news outlets than ever before. Some of them do important, compelling work. Most don’t. If the NFL expanded to 500 teams, there would be a lot more football. Tickets would be cheaper. But it wouldn’t be a better game.

 

*****

 

They made a wall with all our names. There were thousands of them — all the people (or at least all the ones they could identify) who worked at the Observer over the years. At first it reminded me of the Vietnam Memorial, or one of those small-town monuments to the war dead. That’s not comparing journalists to soldiers, although many journalists have risked their lives covering wars. It’s more about a struggle a lot of us have in different ways: trying to fight for something bigger than yourself, and feeling like you’re losing. You don’t have to be a soldier to deal with that. You can be a pastor trying to keep a church alive, or a parent raising a troubled kid.

The business I love has put a lot of good people on the street and left behind a lot of empty buildings. I love it anyway, and so do the people who came by the paper Thursday, not so much to say goodbye to the old building but to say hello again to one another. I did most of the best work of my life with those people, and had most of the good times I’ll ever have, and met the woman I married. Newspapers can break your heart. But I’ll let it be broken every time for what I got out of the deal.

After three hours or so, the old building emptied out, except for the people who still had to put out the news. Alix and I walked through the revolving doors and out of 600 South Tryon, probably for the last time. But the party wasn’t quite over. Some folks had arranged to meet at a bar around the corner. We went to spend a little more time with our newspaper friends, a little more time, just a little more time.

 

 

 

 

 

 

 

 

 

 

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Good dog. Good, good dog.

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Our dog Fred passed peacefully Thursday at about 7 p.m. Alix and I were there by his side, along with the amazing Dr. Mary Fluke, who had cared for him since he was a puppy. We told stories and laughed and cried like children.

He had a good last few days. We discovered right near the end that he liked tuna fish, and he must’ve eaten half a tuna’s worth. At my mama’s wise suggestion, we also fed him bacon. (When in doubt, have some bacon.) The food perked him up. Most days lately he hadn’t had enough strength to take his normal walk to the end of the block and back. But on Wednesday, he pulled us down there and then another whole block. On Thursday we took him on one last car ride. He watched out the back window as we drove him through the streets he knew so well.

After I wrote about Fred’s dying days a few weeks ago, I heard from hundreds of people all over the world. Some had stories of their own old dogs. Some had young animals they vowed to love as much as possible. Some people just wanted to say they were sorry for our loss. Alix and I are sorry, too. But also grateful.

I’m writing this Thursday night. Nearly every night for the last 14 years, one of us has let him out before we all went to bed. We’ve spent so many nights standing in the cool air on the street we love, staring at the stars, listening to one of the neighborhood owls, or just watching Fred prance around the yard and catalog all the new smells. He brought us those moments and a million more.

I didn’t know what to do tonight so I walked out in the yard and stared at the stars and thanked him again for coming into our lives.

He was the best dog.

 

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My top 5 of 2014

Top fives seem to be the trend this year — thank you, Chris Rock. So here are the five pieces I wrote that meant the most to me this year. As always, thanks so much for reading.

Precious Memories (ESPN). This story on Dean Smith, and how his UNC family is dealing with his dementia, ran back in March. I’m still hearing from people about it nine months later — the other day, I got a beautiful email from a basketball coach in Argentina. It’s a blessing when a story leaves those kinds of ripples.

You Can’t Quit Cold Turkey (ESPN). This piece on Jared Lorenzen cut deep with many of people struggling with their weight — and with lots of other addictions. It also gave me the courage to write a book about my own struggles. I’ll always be thankful to Jared for that, and for being so open and honest with his story.

22 Brief Thoughts About That Richard Sherman Interview (Forbes). 4.6 million page views and counting. I still can’t believe it.

Is Charlotte Southern? (Charlotte Magazine). Really enjoyed getting the chance to write down some of the things I’ve been thinking about the city I’ve lived in, and loved, for 25 years.

The Truth of Time (Dazzle Gradually conference, Rock Hill, SC). This is a talk I gave at a great little arts gathering early this year. It sums up a lot of what I’ve come to believe about writing — or any kind of creating, really. And as a bonus, there’s a beautiful poem at the end.

 

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What made “Serial” work

ALERT WARNING ALERT: Spoilers from the last episode of “Serial” below. STOP NOW if you don’t want to know how it ends.

 

 

Here’s my Journalism 101 question about “Serial“: If Sarah Koenig had done the exact same reporting without anyone seeing it, and she took what she found to NPR — or most any other publication — would they have published the story?

Probably not.

She didn’t find enough doubt to spring Adnan Syed. She didn’t find enough evidence against the mysterious Jay, or anyone else, to reopen the case of the murder of Hae Min Lee. She said what she believes — “most of the time, I think he didn’t do it” — but in the end, she had to shrug her shoulders.

At most publications, including the ones I’ve worked for, I think most people would’ve stuck her notes in a drawer and moved on.

“Serial” did it differently. I hope all of us in journalism are paying attention.

Historically, journalists have hidden our stories from the public before they’re ready. There are some good reasons for this:

1) You might decide not to do the story (see above).

2) You don’t want the subjects of the story to reshape it before it gets out.

3) You don’t want to get scooped by the competition.

The huge, brave risk “Serial” took is that it chose not to care about any of those things. Koenig and her colleagues started posting episodes without knowing where the story would lead, much less how it would end. The audience got to see all those frustrations and dead ends play out — and it turns out the very things we hide are what people are drawn to. Listeners built blogs and flooded Reddit with speculation as it went along. There was a podcast about the podcast. Some of those fans are probably disappointed today that there wasn’t a big reveal of the killer. A little part of me felt that way, too. But knowing they started the story on a tightrope made it a whole different experience. Even though the pieces were taped, it felt like a live show where anything could happen. In the finale, Koenig said she was getting new information right up until the moment she taped. I was half-expecting her to stop her own show halfway through with breaking news on the case.

These loose-ended stories happen all the time — it’s just that the outside world rarely sees them. Every reporter has stories where you can’t get the key people to talk, you can’t find some important document, you can’t figure out how to make it hang together. I once spent months researching a book idea that I loved, but there was one crucial fact that I came to decide I’d never be able to know. So I put the whole thing away.

But what makes a story a story is not just reaching the goal but overcoming the obstacles in the way. In one sense, every story is a detective story. The genius of “Serial” is how it let the audience in on the detective work of journalism. In that way it reminds me of my favorite story of all time, J.R. Moehringer’s “Resurrecting the Champ.”

Of course, you have to understand that most detective stories are about the detective. The main character in “Serial” isn’t Adnan Syed. It’s Sarah Koenig. That’s a weird spot for most journalists. There’s no way to take yourself completely out of the story — every choice you make as a journalist is filtered through the way you see the world. Still, in general, we want the story to be about the people we’re writing about.

But I hope “Serial” widens the range of how traditional journalists think about how to do stories. Sometimes it’ll make sense to let readers in on the story early. Sometimes it’ll make sense to be more transparent about how you know what you know (and why you don’t know what you don’t know). Sometimes it’ll make sense to put the reporter at the center of the story, as a narrator trying to solve a mystery. Sometimes a few smart people in a newsroom will take that pile of notes that they can’t quite make whole, even though the story keeps them awake at night, and they’ll say: Let’s put it out there and see what happens.

“Serial” was solid journalism, it told a compelling story that got millions of us hooked, and it became the most popular podcast of all time. Seems like a good chance to take again.

 

 

 

 

 

 

 

 

 

 

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Book announcement

I’m too excited to give this a fancy buildup so I’ll just say it: I’m writing a book.

Here’s the announcement from the site Publishers Lunch:

publisherslunch

Yeah, I can’t really believe it either.

There are a lot of things I don’t know yet — we’re at the beginning of a long, long process. Apparently, now that the publisher likes the idea, they actually want me to write the damn thing. So it’ll be awhile before you get to hold a copy in your hands — although, if you’re reading this, I do expect you to not only hold a copy in your hands one day, but actually, you know, BUY it.

I’ve been thinking about this book for a long time, as I’ve tried to untangle not just my own struggle to get in shape, but the struggle of so many others. I’ve touched on it a few times, most recently in my piece for ESPN on Jared Lorenzen, but there’s a lot more to talk about. It’ll be hard. Trying to make yourself better in some way is always hard.

But I’m thrilled for the chance to tell this story, and to find out what it’s like to write a book — something I’ve always dreamed of. I’ll keep you posted on how it’s going along and along. Thanks to everyone for the support all these years. And to all of you who asked “When are you going to write a book?” — finally, I have a decent answer.

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The Hilton sisters and me

Well, I’m in a movie. It’s a documentary called “Bound By Flesh” and it tells the story of Daisy and Violet Hilton, conjoined twins who were sideshow sensations in the ’20s and ’30s — they sang, played several instruments, and appeared in the cult horror classic “Freaks.” Their long trip through the shadier parts of show business ended in the early ’60s, when they landed in Charlotte, broke and looking for work. They spent the last few years of their lives here, and when a Broadway show about them launched in 1997, I wrote a story about their time in town.

A couple of years ago, I got an email from a woman named Leslie Zemeckis. You know the work of her husband, Robert — he directed the “Back to the Future” movies, “Forrest Gump,” “Cast Away,” Denzel Washington’s “Flight.”  Leslie is a filmmaker, too, and she had decided to make a documentary about the Hilton sisters. She came to Charlotte to interview me and a bunch of other folks who knew about Daisy and Violet in one way or another.

The film came out a couple of weeks ago, and it turns out that Time Warner Cable has it on demand — you can also get through iTunes and Amazon and other places. So I checked it out. It’s an interesting look at two women who had a rough but fascinating life, defined by the little ribbon of flesh that connected them.

I’ve done interviews for this sort of thing before where I didn’t make the final cut. But I’m in this one, starting about an hour in, and Leslie lets me yap about the Hiltons quite a bit in the last half-hour. I’ll just have them send the Oscar straight to the house. I hate tuxes.

Here’s the trailer:

 

A bit of North Carolina trivia: The world’s most famous conjoined twins, Chang and Eng Bunker — they’re the reason people came up with the name “Siamese twins” — ended up living on farmland in Mount Airy. They married sisters and fathered 21 children.