Reading List

Authors Like Susan Orlean

Orlean went to Florida to write about a man arrested for taking rare orchids out of a state preserve, discovered she knew nothing whatever about orchids, and decided that was the point. The Orchid Thief (1998) came out of it, and then Adaptation (2002), a film about a screenwriter who cannot work out how to adapt the book, in which she is played by Meryl Streep and Chris Cooper won an Academy Award. She has been a staff writer at The New Yorker since 1992 and has written eight books: Saturday Night (1990), on how Americans spend one evening; Rin Tin Tin (2011), on a dog rescued from a French battlefield in 1918 who became a film star; The Library Book (2018), built around the 1986 fire that gutted the Los Angeles Central Library; On Animals (2021). In October 2025 she published Joyride, a memoir that is really a book about method — where the ideas come from, how the reporting works, how a first line is built — and it was named a book of the year by NPR, Time, Oprah Daily and others. Her position on expertise is unusual and worth knowing before you read her: not knowing, she has said, is a superpower. The ten below are chosen on curiosity and on how they treat a stranger.

By Lisanne Swart · 10 authors · Magazine non-fiction · Obsessives and animals · Eight books · Updated September 2026


Quick answer

If you love Susan Orlean, the closest match is Mary Roach: the same cheerful expertise-free plunge into a subject, with jokes and real reporting. John McPhee and Joseph Mitchell are the ancestors of the form, and Calvin Trillin the funniest practitioner of it. Jon Mooallem and Bill Bryson share the appetite, and Sy Montgomery is where to go after On Animals. And Joan Didion is the argument against her: the same magazine assignments, with all the warmth taken out.

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10 authors like Susan Orlean

01
The same plunge, different subjects · Closest match

Mary Roach

American · Stiff (2003), Packing for Mars (2010), Fuzz (2021)

Roach picks a subject most writers avoid and reports it properly: what happens to donated bodies, the digestive tract end to end, the unglamorous engineering of keeping humans alive in orbit, and in Fuzz what to do about wildlife that breaks human law. She turns up at the labs and the field stations herself, asks the questions everybody else is too embarrassed to ask, and keeps the footnotes funnier than most writers' jokes.

The closest living match, and the recommendation to make first. Roach and Orlean both arrive knowing nothing, treat that as an advantage, and use their own bewilderment as the reader's way in — which is exactly what Orlean means about the superpower of ignorance. Roach is more comic and more scientific; Orlean is more interested in the people than the mechanism. Start with Stiff and then Fuzz, which is the most Orlean-like of hers.

— Lisanne

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02
Older than the genre · The master

John McPhee

American · Oranges (1967), Coming into the Country (1977), Draft No. 4 (2017)

McPhee has written for The New Yorker since 1965 and taught the same writing course at Princeton since 1975. He has built books out of oranges, a headmaster, the geology of one interstate highway, the men who move freight, and a birchbark canoe; Annals of the Former World won the Pulitzer Prize in 1999. Draft No. 4 explains how he structures a piece, which is the closest thing the form has to a technical manual.

The writer Orlean is working in the line of, and the one to read alongside Joyride. Both books are ultimately about method: how you find a subject, what you do with three notebooks of material, why the structure matters more than the sentences. McPhee is more austere and more architectural; Orlean is warmer and quicker. Read Draft No. 4 and Joyride in the same week and you have the best craft education available in two books.

— Lisanne

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03
Older than the genre · The obsessives

Joseph Mitchell

American · McSorley's Wonderful Saloon (1943), Joe Gould's Secret (1965)

Mitchell wrote for The New Yorker about the edges of New York: fish market workers, the tenants of a Bowery hotel, a bearded lady, and above all Joe Gould, a Harvard-educated vagrant who claimed to be writing an oral history of the world. He wrote about Gould twice, decades apart, and the second piece reveals what he had learned. He also acknowledged that some of his figures were composites drawn from several people, which changed how the profiles are read.

The origin of the Orlean subject: the person whose obsession looks absurd from outside and entirely coherent from within. Mitchell got there first and went deeper, and Joe Gould's Secret is also the best short book about what a reporter owes someone who is not entirely well — a question that hovers over every profile of an eccentric, including The Orchid Thief. Read it after Orlean, not before.

— Lisanne

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04
The funniest of them

Calvin Trillin

American · American Fried (1974), Killings (1984), About Alice (2006)

Trillin joined The New Yorker in 1963 and for fifteen years wrote a piece every three weeks from somewhere in the United States, collected in part as Killings — small-town deaths reported not as crime stories but as ways into a place. He also wrote comic food books that treated barbecue as a serious civic subject, and About Alice, a very short book about his late wife that is among the best things written about a marriage.

The same beat, worked with a lighter hand and a sharper ear. Trillin can drop into a county nobody has heard of, find the argument the town is having with itself, and get out in four thousand words. Orlean stays longer and grows fonder. If you like the way she treats an unglamorous American place as inherently interesting, he did that every three weeks for fifteen years, and Killings is where to start.

— Lisanne
05
The same curiosity, this decade

Jon Mooallem

American · Wild Ones (2013), This Is Chance! (2020), Serious Face (2022)

Wild Ones follows polar bears, whooping cranes and a rare butterfly, and is really about the people who need those animals to mean something. This Is Chance! reconstructs the days after the 1964 Alaska earthquake through the radio reporter who held Anchorage together. Serious Face collects thirteen essays, including a pigeon-breeding pyramid scheme and a hospice director who lost three limbs. He has been a writer at large at The New York Times Magazine for over fifteen years.

The nearest contemporary in temperament: an assignment writer who keeps finding the moment where a story about a thing turns into a story about a person. Mooallem is slightly more melancholy and more willing to let a piece end unresolved; Orlean tends to land somewhere warm. If the Pigeon King essay sounds like something you would have wanted her to write, that is because it is.

— Lisanne

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06
After On Animals

Sy Montgomery

American · The Good Good Pig (2006), The Soul of an Octopus (2015)

The Soul of an Octopus comes out of years spent with octopuses at the New England Aquarium and in the wild, taking seriously the question of what they experience; it was a National Book Award finalist. The Good Good Pig is about the runt she and her husband raised for fourteen years in New Hampshire, and How to Be a Good Creature is a memoir told through thirteen animals she has known.

Where to go after On Animals, and the warmer version of the same shelf. Orlean writes animals partly as a way of writing about the people attached to them — the dog who became a film star, the donkeys, the chickens; Montgomery writes the animal as the subject and does not apologise for the attachment. She is less witty and more moving, and considerably braver about looking sentimental.

— Lisanne

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07
The British equivalent

Craig Brown

British · Ma'am Darling (2017), One Two Three Four: The Beatles in Time (2020)

Brown spent decades as a parodist and columnist before writing biographies that refuse to behave like biographies: Ma'am Darling assembles Princess Margaret from ninety-nine fragments, anecdotes, lists and imagined alternatives, and One Two Three Four does the same for the Beatles. It won the Baillie Gifford Prize in 2020. He has since written about Queen Elizabeth II in the same fragmentary way.

The same instinct that a subject is best approached sideways, done with English mischief instead of American warmth. Brown and Orlean both understand that the telling detail beats the thesis, and both build books out of accumulation rather than argument. He is far more willing to be cruel, which is precisely what makes the pairing interesting. Read One Two Three Four if you liked the structure of The Library Book.

— Lisanne
08
The same appetite, on the road

Bill Bryson

American-British · Notes from a Small Island (1995), A Short History of Nearly Everything (2003)

Bryson has written about twenty books alternating between travel and explaining things: Britain, the Appalachian Trail, the house he lives in, the human body, and in A Short History of Nearly Everything the whole of science, which won the Royal Society's science book prize in 2004. He announced his retirement from writing in October 2020, and has broken it once, for a short Audible original about Christmas traditions in 2022.

The other great practitioner of the enthusiastic amateur. Bryson and Orlean both work from the position that not knowing is the beginning rather than a disqualification, and both are unusually good at the fact that reorganises how you see something ordinary. He goes wider and shallower, she goes narrower and deeper into people. Read him for the pleasure of being told things; read her for the pleasure of meeting someone.

— Lisanne

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09
The obsession, at book length

David Grann

American · The Lost City of Z (2009), Killers of the Flower Moon (2017), The Wager (2023)

Grann has been at The New Yorker since 2003 and builds books around one unresolved event: an explorer vanishing into the Amazon, the murders of Osage people for their oil rights, a British warship wrecked off Patagonia in 1741 whose survivors came home with irreconcilable stories. Six of his books or articles have been adapted for the screen, including Martin Scorsese's Killers of the Flower Moon.

The same magazine training, pointed at obsession rather than eccentricity. Both writers are drawn to people who have organised an entire life around one thing, and both let the reporting run far past where a normal assignment would stop. Grann's subjects tend to end in disappearance or murder and Orlean's in a greenhouse, which is largely a matter of temperament. Read The Lost City of Z after The Orchid Thief: same jungle, opposite mood.

— Lisanne

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10
The argument against her

Joan Didion

American · Slouching Towards Bethlehem (1968), The White Album (1979)

Didion reported 1960s California — Haight-Ashbury, a San Bernardino murder trial, a recording session where she sat on the floor while the Doors waited for Jim Morrison — in sentences shorter and colder than anyone else's. The White Album opens with her own psychiatric report and treats it as evidence about the decade. The Year of Magical Thinking (2005) won the National Book Award. She died in 2021.

The same assignments with the affection removed, which is the fastest way to test what Orlean's warmth is doing. Didion looks at a woman in a difficult marriage or a group of drifting teenagers and reaches a verdict; Orlean looks at an orchid smuggler and declines to. One of those is a moral position and the other is a refusal to take one, and readers disagree about which is which. Read the first fifty pages of Slouching Towards Bethlehem and decide.

— Lisanne

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Where to start if you loved Susan Orlean

If you want the closest match, read Mary Roach.

Stiff. What happens to donated bodies, reported in person and very funny.

If you loved Joyride, read John McPhee.

Draft No. 4. Sixty years of method, explained by the man who invented most of it.

If you want the ancestor, read Joseph Mitchell.

Joe Gould's Secret. A man writing the longest book in the world, and what the reporter learned.

If you loved On Animals, read Sy Montgomery.

The Soul of an Octopus. Years with an animal, and what it might be experiencing.

If you want the argument against her, read Joan Didion.

Slouching Towards Bethlehem. The same assignments, thirty degrees colder.

If you want more non-fiction of this kind

My shelf has the rest.

Frequently asked questions about authors like Susan Orlean

Who should I read if I love Susan Orlean?

Mary Roach is the closest — the same delighted plunge into a subject she knows nothing about, with real reporting underneath. John McPhee and Joseph Mitchell are the ancestors of the form and Calvin Trillin the funniest practitioner of it. Jon Mooallem is the nearest contemporary in temperament, Bill Bryson shares the enthusiastic-amateur position, Craig Brown is the British equivalent and Sy Montgomery the place to go after On Animals. David Grann applies the same magazine training to obsession rather than eccentricity. Joan Didion is the argument against her, being the same assignments with the warmth removed.

What is Susan Orlean's new book?

Joyride: A Memoir, published by Avid Reader Press at Simon & Schuster on 14 October 2025 and by Atlantic Books in Britain that November, with a paperback in November 2026. It became a national bestseller and was named a book of the year by NPR, Time, Oprah Daily and Goodreads. It opens with the line that the story of her life is the story of her stories, and reviewers have repeatedly noted that it doubles as one of the best books on the craft of narrative non-fiction.

Which Susan Orlean book should I start with?

The Orchid Thief (1998) if you want the famous one: John Laroche, the orchid poacher, the Fakahatchee Strand swamp, and a reporter who arrived knowing nothing about plants. The Library Book (2018) if you want the best-loved one, built around the 1986 fire that destroyed much of the Los Angeles Central Library and expanding into a history of libraries themselves. Joyride (2025) if you write, or want to.

Is Adaptation based on The Orchid Thief?

Loosely, and self-consciously. Charlie Kaufman was hired to adapt the book, could not find a way to do it, and wrote a film about a screenwriter failing to adapt it, with himself and an invented twin brother as characters. Meryl Streep plays Orlean and Nicolas Cage plays Kaufman; Chris Cooper won the Academy Award for best supporting actor in 2003 as Laroche. The film invents a great deal about Orlean personally, which she has discussed with more good humour than most subjects would.

What does Susan Orlean mean about not knowing being a superpower?

That arriving without expertise is what makes the reporting work. She has said that ignorance brings a voraciousness to learn and that it makes her a proxy for the reader — she has to ask how orchids reproduce, and endure the look she gets from the head of the orchid society, but the answer then belongs to the reader too. It is the opposite of the specialist's approach, and it is the through-line from The Orchid Thief to Joyride.

What is The Library Book about?

The fire that burned through the Los Angeles Central Library on 29 April 1986, destroying or damaging a million books, and the man who was arrested and never charged. Around that, Orlean writes a history of the library itself, its more eccentric directors, the smell of burnt paper, and what libraries do for the people who have nowhere else to be during the day. It is her most affectionate book and probably her best structured.

How many books has Susan Orlean written?

Eight, alongside a long career of magazine pieces. In order: Saturday Night (1990), The Orchid Thief (1998), The Bullfighter Checks Her Makeup (2001), My Kind of Place (2004), Rin Tin Tin (2011), The Library Book (2018), On Animals (2021) and Joyride (2025). Two of those are collections of magazine work, which is the fastest way to sample her range. She has been a New Yorker staff writer since 1992 and also writes a Substack.

What order should I read her books in?

No order is required. A good route is The Orchid Thief, then The Library Book, then Joyride, because the memoir is far richer once you know the stories it describes making. If you would rather sample first, The Bullfighter Checks Her Makeup collects the magazine profiles — a ten-year-old boy, a taxidermy championship, a Spanish woman bullfighter — and shows the range in an afternoon.

Written by Lisanne Swart, who has curated reading lists and author guides at lisanneswart.com since 2021. Every comparison here is a judgement about method and subject, not an algorithmic match. See more on her personal bookshelf.

From the bookshelf

“I think the lack of knowledge is a superpower.”

— Susan Orlean, interview with NPR, 2025.

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