Lauren Markham is the author of The Far Away Brothers: Two Young Migrants and the Making of an American Life and has written for The New York Times Magazine, The Guardian, and VQR. Her new book is A Map of Future Ruins: On Borders and Belonging.

“It took me a while to figure out that this is actually a book about storytelling, about journalistic storytelling, about the kind of myths we spin culturally and politically, about history, about current events, and the role of journalism within all of that, and my role as a journalist.”

Zoë Schiffer is the managing editor for Platformer. Her new book is Extremely Hardcore: Inside Elon Musk’s Twitter.

“Being the person where it's a fireable offense to leak to you … is kind of a badge of honor.”

Chris Ryan is the editorial director for The Ringer, where he co-hosts The Watch and The Rewatchables.

“There is a point where there’s just too much stuff. I can’t read a 5,000-word feature, 10 blog posts, and listen to three podcasts, and then do it all again the next day. So that is the line you walk in digital publishing, whether it’s for editorial stuff or for podcasting. You have to accept the fact that there is not going to be a single person out there who listens to it all, and who can read it all, and who can watch it all. But you can imbue everything you do with a certain quality—both like a personality, characteristic quality, but also like a quality of production—that hopefully anybody who does like this kind of thing will find some value in it.”

Patricia Evangelista is a trauma journalist whose coverage of the drug war in the Philippines has appeared in Rappler, Esquire, and elsewhere. Her recent book is Some People Need Killing: A Memoir of Murder in My Country.

“It is hard to describe the beat I do without saying very often it involves people who have died. And it seemed like an unfair way to frame it. It didn't quite seem right. … Sometimes there's no dead body, or sometimes there's 6,000, but the function is the same: that the people you speak to have gone through enormous painful trauma, and then there's a way to cover it that minimizes that trauma. So … I don't cover the dead. I cover trauma.”

Susan Glasser, the former editor of Politico and Foreign Policy, writes the "Letter from Washington" column for the The New Yorker. Her most recent book, written with Peter Baker, is The Divider: Trump in the White House, 2017-2021.

“There’s a great benefit to leaving Washington and then coming back, or frankly leaving anywhere and then coming back. I think you have much wider open eyes. Washington, like a lot of company towns, takes on a logic of its own, and things that can seem crazy to the rest of the country, to the rest of the world, somehow end up making more sense than they should when you’re just doing that all day long, every day.”

Rob Copeland is a finance reporter for The New York Times. His recent book is The Fund: Ray Dalio, Bridgewater Associates, and the Unraveling of a Wall Street Legend.

“If I stab you, I'm going to stab you in the chest, not the back. You're going to see it coming. ... But if you're going to tell me something's wrong, you have to keep talking. I'm not going to take your word for it. I have a reason for why I believe my reporting to be true, and I'm going to present it to you as best I can. But just because you say something's wrong doesn't make it so.”

Miles Johnson is an investigative reporter for the Financial Times. He is the author of Chasing Shadows: A True Story of Drugs, War and the Secret World of International Crime and the host of Hot Money: The New Narcos.

“I’m really fascinated always by the ways in which people just have to do really boring parts of running a crime organization … I love the banalities of this stuff. We have a fictionalized version of crime groups and it’s obviously glamorous, and they’re really smart, but there’s a lot of stuff that’s bumbling incompetence as well or just quite unglamorous.”

Daisy Alioto is a journalist and the CEO of Dirt Media.

“I don't think I was ever super precious about my writing, but if I was, I'm zero percent precious about it now. Every time I write for Dirt, it saves the company money. ... Nothing will make you sit down and write 800 words in 20 minutes than just needing to get it done. And that is a change that I've seen in myself. I would encourage everyone to be less precious about their writing.”

Ian Coss is a journalist, audio producer, and composer. He is the host of Forever is a Long Time and The Big Dig.

“One thing that I really carried with me in making the show is a belief that bureaucracy is interesting. And that once you get through the jargon and wonky sounding stuff … beyond that it’s all just human drama.”

Mosi Secret has written for ProPublica, The New York Times Magazine, and GQ. His new podcast is Radical.

“I think this story made me call on parts of myself that are not journalistic because I don’t really think that’s the way we’re going to get out of this at this point in my life. I think that it takes a more radical reimagining of who we are as human beings, the ways in which we’re connected, and what we owe to each other. And that’s not a reporting thing—that’s a ‘who are you’ kind of thing.”

Craig Mod is a writer and photographer who has two newsletters, Roden and Ridgeline. His new book is Things Become Other Things.

“There'll be days where … I’m doing a walk and I'll just be like, I don't know what is going to move me today. And then out of the blue, there'll be this small interaction that when you really pay attention to it, it contains kind of this universe of kindness and patience that you otherwise pass by or ignore. If you're in the general mode of looking at things and then being able to take that experience and try to transmute it into an essay for the evening and send it out, it just develops your eye. You just start being able to look more and more and more closely.”

Mona Chalabi is a writer and illustrator whose work has appeared in The New York Times, The New Yorker, and The Guardian, where she is the data editor. Her New York Times Magazine piece “9 Ways to Imagine Jeff Bezos’ Wealth” won this year’s Pulitzer Prize for Illustrated Reporting.

“I kind of think of protest as just saying what you believe. And sometimes, it’s considered protest because it’s outside of the institutions of power. So you’re saying, Hey, Palestinians deserve human rights, and that’s considered a form of protest, right? I want the work to change things and I think I’m quite unapologetic about that, and most journalists are like No no no no no, we’re just reporting the world, we’re just reporting things as we see it. There’s no desire for change. I think that is so messed up. This idea that your work has no impact in the world is incorrect. You can’t wash yourself of the consequences of the work, you have to be considering the consequences while you’re doing it.”

Adam Grant is an organizational psychologist, author, and host of the podcasts Work Life and Re: Thinking. His new book is Hidden Potential: The Science of Achieving Greater Things.

“If you only focus on your own interest, you tend to develop novel ideas, but not necessarily useful ideas. And so for me, the audience is a filter. … I might have 30 ideas for a book. Let me hone in on the four or five that also might be relevant to other people. The goal there is to make a contribution.”

Jesse David Fox covers comedy for Vulture, where he hosts the podcast Good One. His new book is Comedy Book: How Comedy Conquered Culture—and the Magic That Makes It Work.

“There’s a complete lack of anyone who’s ever written about comedy seriously compared to any other art form. There’s just nothing. … So the challenge was, how do you start a conversation that no one has been participating in?”

Evan Hughes is a journalist whose work has appeared in The New York Times Magazine, GQ, The Atlantic, The Atavist and many others. His book, just out in paperback, is Pain Hustlers: Crime and Punishment at an Opioid Startup.

“It should be called slow-form journalism…. It is heavily edited. It’s heavily fact checked. And chances are, you’re not going to be the first. Maybe you’re going to be first to reveal some piece of it. I have made peace with like, I’m not the scoop guy. I’m the person who comes in and I’m good at telling the story in a thorough and deep way.”

Yepoka Yeebo has written for The Guardian, Bloomberg Businessweek, and Quartz. Her new book is Anansi’s Gold: The Man Who Looted the West, Outfoxed Washington, and Swindled the World.

“Initially it was like, Why are you writing about a con man? He makes Ghana look bad. Nobody needs another crime story about an African person. I found that irritating, because isn't the whole point of being a complete person, complete people, is we contain multitudes? We too can be epic, world-leading con men! Also, it's a great story. Everybody should revel in the insanity of what happened.”

Clare Malone is a staff writer for The New Yorker, where she covers the media. Her latest article is ”Hasan Minhaj’s ‘Emotional Truths.’”

“You're going to work a lot of hours if you want to be successful, and you're probably not going to make as much money as your dumb friend from college does. You're choosing it for a different reason, but I do think we have to make efforts to have the [journalism] industry be a middle-class profession.”

Azam Ahmed is an international investigative correspondent for The New York Times. His new book is Fear Is Just a Word: A Missing Daughter, a Violent Cartel, and a Mother's Quest for Vengeance.

“I think the fundamental question I always ask when I go into a new place, whether I’m covering currencies, or hedge funds, or geopolitics in Afghanistan, or the war—it’s what does this mean to the world right now? What does the world need to know and how does it fit into that space?”

Kashmir Hill is a tech reporter for The New York Times. Her new book is Your Face Belongs to Us: A Secretive Startup’s Quest to End Privacy as We Know It.

“I often do feel like what my work is doing is preparing people for the way the world is going to change. With something like facial recognition technology, that's really important because if the world is changing such that every photo of you taken that's uploaded is going to be findable, it's going to change the decisions that you make.”

Zeke Faux is an investigative reporter for Bloomberg. His new book is Number Go Up: Inside Crypto’s Wild Rise and Staggering Fall.

“I have a rule of thumb, which is that if somebody did one scam, they probably did another scam. If they did one scam in the past and now they have a new thing, odds are good it’s also a scam. That’s not always true, but that was definitely borne out sometimes in crypto-world.”

Reginald Dwayne Betts is a poet, lawyer, and founder of the nonprofit Freedom Reads. His New York Times Magazine article "Could an Ex-Convict Become an Attorney? I Intended to Find Out" won the National Magazine Award. His new podcast is Almost There.

“I felt like I had to own becoming something and intuitively understood that if I didn't lay claim to desiring to be something, that it would be too many other forces that would be pulling on me to dictate that I become something else. … When you say you're a writer, if you know nothing else, then you know that you read. You pay attention to the world. … And prison became the metaphor by which I understood the world and poetry became the medium by which I understood what it meant to write about the world and what it meant to take seriously the responsibility to write about the world that I knew.”

Susan Burton is an editor at This American Life, the author of the memoir Empty, and the host of the podcast The Retrievals.

“I know I have much more anger than I reveal, and I don’t think that’s uncommon. Especially for women. There’s been a lot of attention to that in recent years—the anger of women, how it’s expressed and not expressed. But I think that among the things I’ve stifled for years are just my true feelings, and I’ve always wanted to be close to people and to be intimate with people, and have often felt that I have trouble making myself known or being known or being understood. And felt good to be known.”

Jamie Loftus is a comedian, writer, and podcaster. Her new book is Raw Dog: The Naked Truth About Hot Dogs.

“Comedy has been super helpful to me because it's so based on failing every night sometimes that I wasn't afraid of failure in the same way because it's just like, Well, that's going to happen to me at some point this week. Why not in this format?

Javier Zamora is the author of Unaccompanied, a poetry collection, and Solito, a memoir.

“There was something that I felt eating away at me, which made me a very angry and volatile teenager. And I think I was an angry teenager because I had this trauma that nobody around me could talk about, and that I didn't have the right therapist to help me unpack. So the cheapest thing that I had was poetry.”

Jennifer Senior is a staff writer for The Atlantic. Her article ”What Bobby McIlvaine Left Behind” won the 2022 Pulitzer Prize for Feature Writing. Her most recent article is ”The Ones We Sent Away.”

“I'm at the point where I'm only thinking about the big questions and the difficulty of being a human as what matter most. That's what I want to keep focusing on. Our common frailties, our common bonds, our common difficulties. Because clearly we are not going to bond politically as a nation, right? … But we can bond over our kids with disabilities. About the fact that we grieve, that we love, that we lose people. That we have friends that we love, friends that we hate. We have friendships that we miss, we have friendships that we can't live without.”