Jessica Bruder is a journalist and author of the book Nomadland.

“I don’t do a hard sell. I’ll tell people what my MO is, but I don’t push people to talk with me. I want to go deep with people. I want to be able to have the time to just sit with them and to say, ‘start at the beginning.’ Sometimes going chronologically will just take you to these places that wouldn’t have come up if I’ve just done a very guided interview. So I hung out. I’m not relentless. I don’t wear people down. But I stick around. If people just want me to fuck off, I fuck off, and I talk to other people..”

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Rozina Ali is a contributing writer for The New York Times Magazine and the winner of the 2023 National Magazine Award for Reporting. Her latest article is “Raised in the West Bank, Shot in Vermont.”

“I think it’s very, very important to speak to people as people. To speak to sources—even if you have the juiciest story—to really give them the grace. I think everyone deserves it, especially people who are going through such a difficult time.”

John Jeremiah Sullivan is a contributing writer at the New York Times Magazine and has written for Harper's, The New Yorker, and GQ. He is the author of Pulphead and the forthcoming The Prime Minister of Paradise: The True Story of a Lost American History.

“I love making pieces of writing and trying to find the right language to say what I mean. It's such a wonderful way of being alive in the world. I mean, your material is all around you. ... I'm lucky that it has stayed interesting for me. It hasn't faded. The challenges of writing, they still glow.”

Ta-Nehisi Coates is the author of Between the World and Me and a national correspondent for The Atlantic. His latest cover story is “My President Was Black."

“[People] have come to see me as somebody with answers, but I don’t actually have answers. I’ve never had answers. The questions are the enthralling thing for me. Not necessarily at the end of the thing getting somewhere that’s complete—it’s the asking and repeated asking. I don’t know how that happened, but I felt like after a while it got to the point where I was seen as having unique answers, and I just didn’t. I really, really didn’t.”

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Erin Lee Carr is a documentary filmmaker and writer. Her new film is Mommy Dead and Dearest.

“I feel like I’ve always had the story down—that’s not been really difficult for me. So the difficult thing, I think, for me, has always been access. Can I get the access? Can I withstand the pressure? You know, there’s been so many times where I wasn’t being paid to do the job, and I had to wait on the access. And it’s not for the faint of heart. You know, I could have spent a year and a half of my life doing [Mommy Dead and Dearest] and I could’ve not gotten the access to Gypsy, and it kind of would’ve been a wash.”

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Vanessa Grigoriadis writes for Vanity Fair, Rolling Stone, and The New York Times Magazine. Her new book is Blurred Lines: Rethinking Sex, Power, and Consent on Campus.

“I’m a controversial writer. I’ve never shied away from controversy. I’ve only really courted it because I realized a lot earlier than a lot of other people who are involved in this whole depressing business that clicks are the way to go, right? Or eyeballs, as we used to call them, or readership. I come out of a Tom Wolfe-like, Hunter S. Thompson kind of tradition. You don’t mince any words, you just go for the jugular and you say as many things that can stir people up as possible.”

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Carol Loomis retired last summer after 60 years at Fortune. She continues to edit Warren Buffett's annual report.

“Writing itself makes you realize where there are holes in things. I’m never sure what I think until I see what I write. And so I believe that, even though you’re an optimist, the analysis part of you kicks in when you sit down to construct a story or a paragraph or a sentence. You think, ‘Oh, that can’t be right.’ And you have to go back, and you have to rethink it all.” 

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Hua Hsu writes for The New Yorker and is the author of A Floating Chinaman: Fantasy and Failure Across the Pacific.

“I remember, as a kid, my dad telling me that when he moved to the United States he subscribed to The New Yorker, and then he canceled it after a month because he had no idea what any of it was about. You know, at the time, it certainly wasn’t a magazine for a Chinese immigrant fresh off the boat—or off the plane, rather—in the early 70s. And I always think about that. I always think, ‘I want my dad to understand even though he’s not that interested in Dr.Dre.’ I still think, ‘I want him to be able to glean something from this.’”

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Jenna Wortham is a staff writer at The New York Times Magazine and a co-host of Still Processing.

“I feel like I’m still writing to let my 10-year-old self know it’s okay to be you. It’s okay to be a chubby androgynous weirdo. You know what I mean? Like this weird black kid. It’s okay. There are others like you.”

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Eric Lach is a staff writer at The New Yorker, where he covers New York. His latest article is “The Mayor and the Con Man.”

“I think about my own trajectory, my little generation of journalists—it was easier to get jobs reporting on national politics than to get a job reporting on something that you could see and go to and that is a really strange thing, the relief and the joy that I feel like when I can just take the subway twenty minutes to go see something interesting for a story or talk to somebody interesting or explore physically and not just feel like I’m making phone calls and Googling. It’s a very different kind of work, but it’s just not something that was super available.”

Elizabeth Gilbert has written for Spin, GQ, and The New York Times Magazine. She is the author of several books, including Eat, Pray, Love.

“I call it the platinum rule. The golden rule is do unto others as you would have them do unto you, but the platinum rule is even higher: don’t be a dick.”

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Tyler Cowen is an economist, the co-founder of Marginal Revolution, and the host of Conversations with Tyler. His latest book is The Complacent Class: The Self-Defeating Quest for the American Dream.

“I think of my central contribution, or what I’m trying to have it be, is teaching people to think of counter arguments. I’m trying to teach a method: always push things one step further. What if, under what conditions, what would make this wrong? If I write something and people respond to it that way, then I feel very happy and successful. If people just agree with me, I’m a little disappointed.”

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James Fallows, a national correspondent for The Atlantic, and Deborah Fallows, a linguist and writer, are the co-authors of Our Towns: A 100,000-Mile Journey into the Heart of America.

“The credo of reporting—you know, what you don’t know till you show it—that’s my 'this-I-believe.' That’s the reason I’ve stayed in this line of work for this many decades because there’s nothing more fascinating that you can do but to serially satisfy your curiosity about things. What’s it like on an aircraft carrier? What’s it like in a Chinese coalmine? What’s it like in a giant data center in Wyoming? What is it like in all of these things? And journalism gives you a structural excuse to go do those.”

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Thomas Morton is a writer and former correspondent for HBO's Vice News. He was at Vice from 2004-2019 and is a major character in Jill Abramson's Merchants of Truth.

“You have to go with your gut and I feel like that’s one of the most essential qualities in doing anything of the nature of what we did. Of making documentaries or reporting news or current events, you really have to have a good sense of intuition for who you’re dealing with, what they’re telling you, what you’re telling them, how you’re behaving. It’s all human interaction, you can’t govern that with hard and fast rules or with extremely set rules. Beyond the extreme ones there are always going to be murky areas. You have to be willing to accept that and work with those.”

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Jonah Weiner is a contributing writer for The New York Times Magazine and co-author of the newsletter Blackbird Spyplane.

“It's a version of myself. It's a hyperbolic version of myself. And I think it keeps it fun for me. It doesn't feel like a job. Ideally, it keeps it fun for readers. And I think that there actually is this function where X out of 10 people coming to it, their eyes are going to cross and they're going say, I'm out. No thanks. And that's fine, because the Y out of 10 who stick around feel that much more in on something and it just makes it feel like a funky, special place.”

Derek Thompson is a staff writer for The Atlantic and host of the podcast Plain English.

“I am an inveterate dilettante. I lose interest in subjects all the time. Because what I find interesting about my job is the invitation to solve mysteries. And once you solve one, two, three mysteries in a space, then the meta-mystery of that space begins to dim. And all these other subjects—that's the new unlit space that needs the flashlight. And that's the part of the job that I love the most: that there are so many dark corners in the world. And I've just got this flashlight, and I can just shine it wherever the hell I want.”

Keith Gessen is the founding editor of n+1 and a contributor to The New Yorker.

"The founding editors are slowing down. We're not mad at anyone anymore. We think everything is great. ... But amazingly at n+1, we've had this younger generation of angry young women kind of rise up. Something has created space for young editors to come in and be really angry ... But that's holy, that's the thing that makes great writing: being angry."

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Kelley Benham is a writer and editor at the Tampa Bay Times.

"People connect with this story in a really visceral kind of way, usually because of some experience they've had or someone close to them has had. I've had 90-year-old women crying into my phone about babies they lost 70 years ago. I've had people kind of sneak up to me and tell me about babies that have died that they don't talk about, but that they carry with them all the time. I've had premies who are grown up—those are my favorite—you know, "I'm 20 now and I have a scar just like Juniper's scar, and thank you for helping me understand who I am."

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Eli Saslow is a staff writer at the Washington Post and a contributor at ESPN the Magazine.

"It's not really my place to complain about it being hard for me to write. I wrote the story ("After Newtown Shooting, Mourning Parents Enter Into the Lonely Quiet") and I got to leave it. And even when I was writing the story, I was only experiencing what they were experiencing in a super fractional way. The hard part is that it was a story where there are no breaks, there's no—it is this relentless, sort of bottomless pain and I struggled with that. … A story can only have so many crushing moments, otherwise they just all wash out. But the other truth is: it is what it is. It's an impossibly heartbreaking situation. And making the story anything other than relentlessly heartbreaking would've been doing an injustice to what they're dealing with."

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Alec Wilkinson is a staff writer for The New Yorker.

“My hero was Joseph Mitchell, that was how you did reporting. There was nothing conniving about it or cunning — you just simply kept returning and kept returning.”

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Andy Greenwald covers television for Grantland.

“People are enthusiastic about TV. People want to read about it. They want to talk about it. They want to know more. They want to extend its presence in their lives. People used to talk about the water cooler show, but the internet is that water cooler now and people want to be part of the conversation.”

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Dean Baquet is executive editor of The New York Times.

"I always tried to question what is the difference between what is truly tradition and core, and what is merely habit. A lot of stuff we think are core, are just habits. The way we write newspaper stories, that’s not core, that’s habit. I think that’s the most important part about leading a place that’s going through dramatic change and even generational change. You’ve got to say, here’s what’s not going to change. This is core. This is who we are. Everything else is sort of up for grabs."

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Ed Yong spent 2020 covering the pandemic for The Atlantic. His latest feature is "How Science Beat the Virus."

“I am trying to give readers a platform that they can stand on to observe this raging torrent that is the pandemic, this cascade of information that is threatening to sweep us all away. I’m trying to give people a rock on which they can stand so that they can observe what is happening without themselves being submerged by it. But I am trying to construct that platform while also being submerged in it.”

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Mary Roach is the author of seven nonfiction books, including her latest, Fuzz: When Nature Breaks the Law.

"In these realms of the taboo, there's a tremendous amount of material that is really interesting, but that people have stayed away from. ... I'm kind of a bottom feeder. It's down there on the bottom where people don't want to go. But if that's what it takes to find interesting, new material, I'm fine with it. I don't care. I'm not easily grossed out. I don't feel that there's any reason why we shouldn't look at this. And over time, I started to feel that ... the taboo was preventing people from having conversations that it would be healthy to have."

Abraham Josephine Riesman is a journalist who writes often for New York and is the author of True Believer: The Rise and Fall of Stan Lee. Her second book, Ringmaster: Vince McMahon and the Unmaking of America, will be published in March.

“You’re sure that there’s a level of unreality, but you’re not sure that it’s all fake. There’s stuff there that seems either plausible or sometimes you go ‘there’s no way you could fake that.’ And sometimes you’re right, and a lot of times you’re somewhere in the middle. It’s not as easily distinguished as saying this is fact and this is fiction, this was scripted and this was improvised, whatever. You can’t make those distinctions easily, and one of the things I sort of hope comes out of the book—if it has any impact at all—is to try to get us past this false binary of true and false.”