Rick Atkinson on Washington, War, and the Discipline of Writing History

Rick Atkinson has spent much of his career writing about war: first as a journalist, then as one of America’s foremost narrative historians. After completing his celebrated Liberation Trilogy on World War II, he turned not to the Pacific, but further back, to the war that created the country itself. In this conversation, he reflects on why the American Revolution still felt inexhaustible, what studying George Washington up close reveals about leadership and growth, and why history is always more human and less tidy than heroic myth allows.
What emerges is not just a discussion of founders and battles, but of craft. Atkinson speaks with unusual clarity about how large historical projects actually come together: the years of archival work, the importance of outlines, the solitude of research, and the discipline required to shape mountains of material into narrative. He is unsentimental about both reading and writing, skeptical of easy labels, and resistant to any shortcut that substitutes for thought.
He also makes the case, implicitly and explicitly, that history matters not as ornament but as inheritance. For Atkinson, the Revolution is not a museum piece. It is a struggle over liberty, power, and the prevention of tyranny whose stakes still reach into the present.
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-Rick Atkinson is a Pulitzer Prize-winning historian and journalist

Returning to the Founding War
Ben Wolf: You’ve now written major works on both World War II and the American Revolution. At this stage in your career, what drew you back to the nation’s founding war—and where did you feel earlier accounts still left room for a new narrative or perspective?

Rick Atkinson: Well, I’ve always written about war, both as a journalist, as a foreign correspondent and war correspondent, and now as the author of eight books about five different American wars.
When I finished the Liberation Trilogy, which is about the liberation of Europe and the American role in that, even before that third and final volume was published, I was thinking about what to do next. The obvious thing would have been to pivot to the Pacific and do for that theater what I’d done for the Mediterranean and Western Europe. But after almost fifteen years, I just didn’t have the heart for it. I was up to here with World War II.
I’ve always been interested, since I was a kid, in the American Revolution. The characters fascinate me, always have. The fact that it tells us something about who we are, where we came from, what our forebears believed, and what they were willing to die for is profound, in my estimation.
So I decided, in 2013, that that was what I was going to do. I was going to take on the American Revolution. I think that, like World War II, like all great events, like all great personages in history, the Revolution is bottomless. There’s more there. There will always be more there.
It’s not that I believe the many scholars who’ve taken it on for 250 years have missed something, per se, but I think my voice, my modernist perspective, and the digging that I like to do as a scholar all lead us to a different take on the war and a different narrative account of the war.


Writing for the Reader
BW: There’s a growing sense today that audiences expect stories to move faster—whether in film or in books. As you look back across your career, have you found yourself adjusting your pacing or structure to meet those changing expectations, or do you deliberately resist writing to perceived attention spans?

RA: I don’t really worry about the reader that much. The reader is going to find his or her way. Some of them will find their way to my books. Many will not. So I don’t try to pander to what may or may not be shorter attention spans.
I do recognize, as a narrative writer, that I have an obligation to, as I have a sign right over here next to my writing desk that says, “Get on with it,” I have an obligation to get on with it. So I’m always cognizant of the story and the need to keep the story front and center in the telling of the tale. It needs to be a tale.
So to the extent I’m pandering to the reader’s wants or desires, I suppose it takes that direction.


Washington and Real Leadership
BW: When you study a figure like Washington up close, how do you distinguish genuine leadership from reputation that was shaped after the fact? In other words, what tells you that someone was truly exceptional in real time rather than simply remembered that way because of the outcome?

RA: Well, the proof is in the pudding. If Washington had failed completely in the war, and he failed in various moments of it, which is one of the reasons he’s as intriguing as he is, if he was a war-losing general, that would tell us something about his leadership chops.
If you spend as much time with him as I do, as others have, you see his failings, for sure, but you also see his extraordinary strengths: his commitment to the cause, his robust physical qualities. He never seems to even catch cold, which is really important at a time when typhus and typhoid and smallpox and all the other infectious diseases that torment the world in the eighteenth century are killing tens of thousands, including thousands of his own soldiers.
He’s got a big brain organized for executive action. He is willing to take responsibility. He is willing to make decisions. He has an excellent eye for subordinate talent, so he sees this twenty-five-year-old, overweight Boston bookseller named Henry Knox and somehow intuits that this guy is going to be the father of American artillery.
That is countered by the fact that during his lifetime at Mount Vernon, by the time he died in December 1799, he had had at least 577 slaves working on the plantation. It’s part of the source of his wealth, and it’s the reason he can go away for eight years knowing that business will be taken care of back at the plantation by all those slaves.
So it’s a very complex story, as human stories often are. If you study him as a military figure, as I do, you see that he is not a particularly gifted tactician. He makes mistakes. He reads the ground wrong in places like Long Island or Brandywine. And yet, again, he’s got assets that are important. He’s got good luck, which is the trait Napoleon most cherished in his generals. He’s got fortitude. He’s a commanding presence, which is important in a military leader. When he comes into a room, there’s no doubt who the commanding general is.
So all of this is to say that, yes, it’s a mixed bag, and it’s complicated. But at the time, he was recognized for his leadership skills. As early as the winter at Valley Forge, 1777 to 1778, he is declared the Father of His Country for the first time, and not the last time. His reputation, and he cared a lot about his reputation, has basically stuck with him now for 250 years.


On Heroes, Villains, and Human Nature
BW: Your books are filled with figures who are brave, flawed, capable, and often wrong all at once. Has writing history made you more skeptical of neat labels like hero or villain—or even genius or failure—and how has that changed the way you approach character?

RA: I don’t know if writing history has done it, but I’ve always been skeptical of facile characterizations. I think “hero” is badly overused. If everyone’s a hero, then no one’s a hero. These accolades should be held in reserve for those who are truly worthy of them. Otherwise, you devalue the concept.
So yes, back to the earlier point about Washington, the complexities of human nature, the complexities of human fates, are such that first of all you have to accommodate that as a writer. And it makes it more interesting. It makes them more human. They all have feet of clay. It makes it easier to relate to them. They’re not alabaster, ten feet tall, standing on a pedestal. They make mistakes, they sin, they misbehave. All of this is part and parcel of the human condition, and certainly it’s good grist for writers.


How Washington Became Washington
BW: A core question we ask on Pathway is how people become who they ultimately become. When you study the younger Washington, what do you see being formed? Was his later steadiness rooted more in temperament, discipline, ambition—or something else? And what, if anything, can aspiring leaders today learn from that transformation?

RA: He’s got a capacity for growth and adaptability, and those are important. They help him become who he becomes.
When he first arrives, even before the Revolution begins, back when he’s a young colonel in the Virginia militia during the French and Indian War, always under superior British command, at one point he writes, “I have heard the bullets sing, and there is something charming in the sound.” That’s banal. That’s fatuous. And he learns that it is fatuous, that in fact those singing bullets mean dead boys and sobbing mothers. He never says anything that stupid again once he’s responsible for the entire army. So that kind of personal development is something that we see.
His adaptability can be seen in a number of ways. When he first arrives to take command of the Continental Army in Cambridge in July 1775, he privately has nothing good to say about dirty New Englanders. He’s a Virginian commanding what is largely a New England militia army. They’re from different countries. And he doesn’t recognize the sacrifice that most of them are making to leave their farms, their shops, their tanneries, their families, to serve in the cause at his side. Again, he’s got hundreds of slaves working the property for him back at Mount Vernon.
And he’s got to learn that this mystical bond between leader and led is something that he doesn’t grasp immediately. He’s going to grow into it.
Then, as a general, we see his adaptability. He is instinctively very aggressive, and he wants one big brawl just to settle everything, a titanic battle that decides the war. And he comes to recognize that he can’t do that against the British Army, that they’re professional, they’ve got good officers for the most part, and they’ve got the greatest navy the world has ever seen. He has got no navy to speak of.
So he’s going to have to modify his native aggression and adopt what we would today call strategic defense, where he is looking for opportunities to nick and bleed the enemy, but for the most part he’s playing rope-a-dope with them. He’s staying out of reach. He’s avoiding battles that could cost him the army, and therefore the cause.
So it’s that kind of adaptability that is critical to his success as a general and to the success of the American cause. We see these kinds of mutations in his character and in his behavior that are really important to his success and to growing into the job. He has the capacity, as most great men and women do, to grow, to get bigger. And without that, you don’t have greatness.


The Solitary Work of History
BW: When a new project first begins to take shape—when the idea is still just a possibility—what does your next step look like? Do you move immediately into the archives, or is there a period of reflection before the formal research begins?

RA: Oh, the writing is way far in the future from the point that I have the germ of an idea. You roll it around in your brain for a while to see whether this is something you really want to commit to, because every author, regardless of who they are, at some point is going to hate what they’re doing. It’s just the tediousness of it. You’ve got to have enough momentum and enthusiasm for the subject to get past that inevitable point.
What I do, once I have decided that this is what I’m going to take on as the next book, and obviously I’m consulting with my agent, who I’ve had since 1986, and my editor, who I’ve had since 1987, the three of us have been a troika for a long time now, and I discuss these things with them. For a publisher to buy into the project, you write a proposal. I’ve taken great care with the proposals that I write, because it’s a pitch. It’s a pitch to the publisher to underwrite this project for, in the case of the current project and the previous project, long stretches, years at a time.
And that helps you think it through. First of all, is this really something I want to be doing? And second, how would I go about doing this? How does it really shape up when you sit down and lay out the arc of the story and the plan that you have to make it happen?
And then it’s a matter of diving into the topic. For the current book, for volume three of the American Revolution Trilogy, which I’m just now starting to research in earnest, my books-to-get list, secondary sources, just books, is 2,500 titles long. It’s a lot. I own about half of them.
That’s an enormous task to take on, and it includes the volumes of the papers of George Washington, which have been curated by the University of Virginia beginning in 1968, and they’re almost finished. For the Revolutionary War part of the Washington Papers, they’re on volume 38 now. And then there’s the papers of Nathanael Greene and the papers of Charles Cornwallis and the papers of Benjamin Franklin, and so on and so forth. It’s vast.
And that excludes periodicals. So the periodicals-to-get list, things that have been written in scholarly journals and elsewhere over the centuries now, is very long. I’m very diligent about getting those and reading them.
And then the primary stuff is held in a variety of archives, repositories, and libraries around the country and around the world. I am assiduous in working through those. So for the current book, I’ve been to the British Library. I’ve been to the Huntington Library in Southern California. I will make my way to Ann Arbor and the great Clements Library there. I’ll be at the New York Historical Society Library in another month, and the Society of the Cincinnati Library, which is very close to me here in Washington, where I live.
I end up spending days, weeks, in some cases months cumulatively, in these places, working through the primary sources. It’s all very solitary. It can be very tedious. But the mystery of the next unopened archival box is something that needs to get you up in the morning, or you’re probably in the wrong business.


Writing, Outlining, and AI
BW: For many students, the hardest part of writing is simply beginning—especially in an era where shortcuts like AI are increasingly available. In your experience, does that process ever become easier, and why is it still important to wrestle with the work rather than bypass it?​

RA: Well, it’s not for everybody. You can always go to law school, although you’re going to have to do a lot of writing in law school. Maybe you’re naturally a mathematician. You have a different kind of language. Or a scientist, and your writing skills are not as important. It’s not about lyrical writing.
For me, I always start by making an outline. And I think if you don’t make an outline, you’re at risk of finding yourself at sea without a map. I spend six to eight months on the outline, typically. It involves going through all of my notes, all the material that I have been gathering during the years of research. I have no stray documents. It’s all in Word files. And I go through page by page, line by line, deciding: this goes there, this goes there, no, no, it’s not going to fit, no, this goes there.
It’s the most tedious part of the whole process for me. But I always do it. I’ve always made an outline, even when I was a journalist writing a short day story for a newspaper. I would be scratching it on the back of an envelope: okay, this is part one, this is part two, this is where I’m going. Because that just makes it a whole lot easier when it comes to putting the thing in order and doing it efficiently and swiftly.
Once I’ve got the outline done, and the outline typically is two or three times longer than the final book will be, and it tells me where everything is in my notes, then it’s time to sit down to write. I use that outline as the map.
AI? I’m enough of a dinosaur that it’s not going to affect me. Maybe there will be an AI that can write lyrical books someday. I don’t think it’s going to be in my lifetime. AI can do things, clearly. But if you aspire to be a writer, I don’t know why you would want to use AI to sort out what’s happening in your heart and in your brain, because that’s what writers do.
I think AI will never have a human heart. It might have a human brain, but it will never have a human heart. I’m a Luddite, so I don’t really need to worry about AI. What I need to worry about is what I’m doing today and the next book.


What He Hopes Readers Carry Forward
BW: To close, when readers finish this trilogy, what do you most hope stays with them—not necessarily as a lesson, but as an idea or perspective that continues to resonate after they put the book down?​
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RA: I’m not a didactic writer. I’m not here to instruct. They will take away what they’re going to take away.
I would posit that knowing about the founders and the American Revolution and our early history is vitally important for twenty-first century Americans, because those founders left us a bequest. And it includes personal liberties, and it includes strictures on how to divide power and keep it from concentrating in the hands of authoritarians who think primarily of themselves.
We cannot allow that priceless heritage to slip away. We cannot allow it to be taken away. And we cannot be oblivious to this gift, or to the hundreds of thousands who have given their lives to affirm and sustain it over the past 250 years.
I would hope that readers take away that fundamental lesson, as well as the notion that not only were they struggling against what they defined as tyranny then, you can think they’re overstating it, that George III is not really a tyrant, the last King of America, but what they defined as tyranny. More important, they were struggling to prevent future tyrannies. That’s what the Constitutional Convention is about. That’s what the war itself was about. It’s what the fundamental earliest struggle of the young republic is about.
And that’s a pretty important lesson, I think, for Americans to hang on to.