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The Power of the Marginal

(This essay is derived from talks at Usenix 2006 and Railsconf 2006.)

A couple years ago my friend Trevor and I went to look at the Apple garage. As we stood there, he said that as a kid growing up in Saskatchewan he'd been amazed at the dedication Jobs and Wozniak must have had to work in a garage. "Those guys must have been freezing!"

That's one of California's hidden advantages: the mild climate means there's lots of marginal space. In cold places that margin gets trimmed off. There's a sharper line between outside and inside, and only projects that are officially sanctioned-- by organizations, or parents, or wives, or at least by oneself-- get proper indoor space. That raises the activation energy for new ideas. You can't just tinker. You have to justify.

Some of Silicon Valley's most famous companies began in garages: Hewlett-Packard in 1938, Apple in 1976, Google in 1998. In Apple's case the garage story is a bit of an urban legend. Woz says all they did there was assemble some computers, and that he did all the actual design of the Apple I and Apple II in his apartment or his cube at HP. This was apparently too marginal even for Apple's PR people.

By conventional standards, Jobs and Wozniak were marginal people too. Obviously they were smart, but they can't have looked good on paper. They were at the time a pair of college dropouts with about three years of school between them, and hippies to boot. Their previous business experience consisted of making "blue boxes" to hack into the phone system, a business with the rare distinction of being both illegal and unprofitable.

Outsiders

Now a startup operating out of a garage in Silicon Valley would feel part of an exalted tradition, like the poet in his garret, or the painter who can't afford to heat his studio and thus has to wear a beret indoors. But in 1976 it didn't seem so cool. The world hadn't yet realized that starting a computer company was in the same category as being a writer or a painter. It hadn't been for long. Only in the preceding couple years had the dramatic fall in the cost of hardware allowed outsiders to compete.

In 1976, everyone looked down on a company operating out of a garage, including the founders. One of the first things Jobs did when they got some money was to rent office space. He wanted Apple to seem like a real company.

They already had something few real companies ever have: a fabulously well designed product. You'd think they'd have had more confidence. But I've talked to a lot of startup founders, and it's always this way. They've built something that's going to change the world, and they're worried about some nit like not having proper business cards.

That's the paradox I want to explore: great new things often come from the margins, and yet the people who discover them are looked down on by everyone, including themselves.

It's an old idea that new things come from the margins. I want to examine its internal structure. Why do great ideas come from the margins? What kind of ideas? And is there anything we can do to encourage the process?

Insiders

One reason so many good ideas come from the margin is simply that there's so much of it. There have to be more outsiders than insiders, if insider means anything. If the number of outsiders is huge it will always seem as if a lot of ideas come from them, even if few do per capita. But I think there's more going on than this. There are real disadvantages to being an insider, and in some kinds of work they can outweigh the advantages.

Imagine, for example, what would happen if the government decided to commission someone to write an official Great American Novel. First there'd be a huge ideological squabble over who to choose. Most of the best writers would be excluded for having offended one side or the other. Of the remainder, the smart ones would refuse such a job, leaving only a few with the wrong sort of ambition. The committee would choose one at the height of his career-- that is, someone whose best work was behind him-- and hand over the project with copious free advice about how the book should show in positive terms the strength and diversity of the American people, etc, etc.

The unfortunate writer would then sit down to work with a huge weight of expectation on his shoulders. Not wanting to blow such a public commission, he'd play it safe. This book had better command respect, and the way to ensure that would be to make it a tragedy. Audiences have to be enticed to laugh, but if you kill people they feel obliged to take you seriously. As everyone knows, America plus tragedy equals the Civil War, so that's what it would have to be about. Better stick to the standard cartoon version that the Civil War was about slavery; people would be confused otherwise; plus you can show a lot of strength and diversity. When finally completed twelve years later, the book would be a 900-page pastiche of existing popular novels-- roughly Gone with the Wind plus Roots. But its bulk and celebrity would make it a bestseller for a few months, until blown out of the water by a talk-show host's autobiography. The book would be made into a movie and thereupon forgotten, except by the more waspish sort of reviewers, among whom it would be a byword for bogusness like Milli Vanilli or Battlefield Earth.


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