Matthieu Aikins, on the eve of a move to Kabul. Aikins is a correspondent for GQ, Harper's and Wired.

"There's no real objective framework for deciding what the value of your life is, versus the value of a story ... Especially when you go to places where people are getting killed for the silliest reasons, and a life is worth so little, you realize you don't necessarily have to value yourself as this, like, precious commodity that can't be risked in any way. And that's just a personal choice, and it's actually a very selfish one, because obviously, if you have loved ones, you're affecting them by making that choice. In any case, it's just a different headspace that you inhabit."

Eva Holland is a freelance journalist and a correspondent for Outside. Her new book is Nerve: Adventures in the Science of Fear.

“I'm less caught up in my freelance career anxieties every day that this goes on. Maybe I'll become a paramedic, who knows? Magazines I write for are already shutting down because of this. You can only freak out so much before you decide that if you end up having to find a new way to make a living, that's what you'll do.”

Thanks to Mailchimp and Pitt Writers for sponsoring this week's episode.

Katy Vine is an executive editor for Texas Monthly.

“This is a huge state. There’s so much, and it’s different everywhere you look. You just go to Houston and there’s worlds within worlds within worlds just within the one city. You go to San Antonio and you’re in a different country, and you go to Dallas, you’re in a totally different country. … It’s wild to me. It’s endlessly fascinating.”

Ta-Nehisi Coates is a senior editor at The Atlantic. His latest cover story is "The Case for Reparations."

"The writer hopes for change, but writers can't assume that their work is going to cause change."

Thanks to TinyLetter and I Am Zlatan, the international bestseller published by Random House, for sponsoring this week's episode.

Ben Anderson is a war journalist and documentary filmmaker for Vice News. His latest book is The Interpreters.

"You're surrounded by people who are so poor. Maybe their family members have already been killed. And they still can't leave. So compared to that, I can't really take the idea that I've suffered and that I need stop and go to a spa for a few days. I can't take that idea that seriously. Compared to them, it feels like I am leading an almost privileged existence."

Thanks to TinyLetter and GoDaddy for sponsoring this week's episode.

Alex Kotlowitz is a journalist whose work has appeared in print, radio, and film. He’s the author of three books, including There Are No Children Here: The Story of Two Boys Growing Up in the Other America.

“The truth of the matter is, given what we do, we’re always outsiders. If it’s not by race or class, it’s by gender, religion, politics. It’s just the nature of being a nonfiction writer—going into communities that, at some level, feel unfamiliar. If you’re writing about stuff you already know about, where’s the joy in that? Where’s the sense of discovery? Why bother?”

Thanks to MailChimp and MeUndies for sponsoring this week's episode.

Ken Burns is a documentary filmmaker whose work includes The Vietnam War, Baseball, and The Central Park Five. His new series is Country Music.

“History, which seems to most people safe — it isn’t. I think the future is pretty safe, it’s the past that’s so terrifying and malleable.”

Thanks to MailChimp, Vistaprint, and Pitt Writers for sponsoring this week's episode.

Julie K. Brown is an investigative reporter for the Miami Herald. Her new book is Perversion of Justice: The Jeffrey Epstein Story.

“No reporter wants to be a part of the story. ... But the one thing I know is that the authorities weren't going to do anything about this unless it stayed in the news and there was pressure. And I thought the only way to do pressure was to continue to write stories and to be in their face by going on TV. So I took advantage of the fact that I am sort of a part of this story in the hope that it would pressure authorities to do something about 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.”

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?”

Sean Wilsey has written for The New Yorker, The London Review of Books, The New York Times, and McSweeney’s Quarterly, where he is an editor-at-large. His latest book is More Curious.

"I’m actually apparently a fairly competent person at getting things done, making deadlines and all these things. But the Wilsey you might get in the piece about NASA is the guy who eats a ton of oysters and drinks a lot of beer before getting on the vomit comet."

Thanks to TinyLetter and GoDaddy for sponsoring this week's episode.

Jon Favreau, former chief speechwriter for President Obama, is a columnist at The Ringer and co-host of Keepin’ It 1600.

“And then Obama comes over to my desk with the speech, and he has a few edits. And he’s like, ‘I just want to go through some of these edits and make sure you’re ok with this. I did this for this reason. Are you ok with that?’ And I’m like, ‘Yeah, buddy. You’re Barack Obama.’”

Thanks to MailChimp's Freddie and Co., Freshbooks, Audible, and Squarespace for sponsoring this week's episode.

Nathan Thornburgh is the co-founder and co-publisher of Roads & Kingdoms.

"You have to remain committed to the kind of irrational act of producing journalism for an uncaring world. You have to want to do that so bad, that you will never not be doing that. There’s so many ways to die in this business."

Thanks to MailChimp, Mubi, and Rise and Grind for sponsoring this week's episode.

Adam Davidson is a staff writer at The New Yorker.

“I am as shocked this moment that Trump was elected as I was the moment he was elected. That fundamental state of shock. It’s like there’s a pile of putrid, rotting human feces on a table and like six of the people around the table are like, ‘That is disgusting.’ And four are like ‘Oh it’s so delicious. Oh, I love it. It’s delicious.’ And I keep saying, ‘Well, why do you like it?’ ... Trump is not a very interesting person in my mind. He’s a very simple, one of the most simple public figures ever. And his business is complex that in that it’s lots of people doing lots of things, but the fundamental nature of it is not that mysterious. So, it is a challenge to keep me engaged, but I’m engaged. And then as a citizen, I’ve never been more engaged.”

Thanks to MailChimp for sponsoring this week's episode.

Julie Snyder, one of the first producers at This American Life, is the co-creator of Serial and S-Town.

“I am constantly second-guessing myself. I am full of regret and recrimination all the time. I don’t pride myself on it cause it probably goes too far, but in other ways I do feel like I am a person who is very flawed and I make mistakes and I try and learn from them. And I try to be very open to other people’s thoughts and input and everything like that. So to be that open to criticism after season one [of Serial] was rough for being that open because we just got so much attention. I could feel people being like, ‘Oh, go cry on your bags of money.’ It was huge. I got that, but at the same time, it was hard to ignore.”

Thanks to MailChimp, First Day Back, and Pitt Writers for sponsoring this week's episode.

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.”

Vanessa Grigoriadis is a contributing editor at Vanity Fair and New York.

On the art of the celebrity interview: "People are smart. Particularly these people. They're sitting there thinking, 'When is she going to drop that question?' They know what you're doing. So the way I think about it is: let's have an actual, genuine, human, interesting conversation. ... [Journalists] have all sorts of schemes of what they think works for them. My scheme is no scheme."

Thanks to this week's sponsors, TinyLetter and Audible!

</blockquote>

Theo Padnos is a journalist and author of the book Blindfold: A Memoir of Capture, Torture, and Enlightenment.

“I'm trying to tell a story about a person who's attracted to dangerous places and people. I think we all have that within us. I wanted to bring my readers along. So I selected details that we all have in common... I'm trying to invite you along on a journey that you yourself might have taken.”

Thanks to Mailchimp for sponsoring this week's episode.

Ashley C. Ford is a writer and host of the podcast Fortune Favors the Bold. Her memoir, Somebody's Daughter, is forthcoming from Flatiron Books.

“For the first time I felt like I had so many more choices in my life than I originally thought I had. That was my first realization that I did not just have to react to the world, that I could be intentional in the world, and just curious about what came back to me.”

Thanks to Mailchimp and Pitt Writers for sponsoring this week's episode.

Delia Cai is the senior vanities correspondent for Vanity Fair and publishes the media newsletter Deez Links. Her debut novel Central Places is out this week.

“This was in like, 2011, where I think actual journalists were still trying to figure out ‘Is it gross to be a brand?’ And at least in school, they were all about it. They’re like, ‘You need a brand, you need to think about what your niche is going to be, you need to think about engaging your audience.’ We had to make websites, we had to blog, and of course, all of us being college students, we started using our blogs to write about each other. We used Twitter to talk shit about each other in a very thinly veiled way. So really, it was the best training for being online.”

Malcolm Gladwell is a staff writer at The New Yorker. His new podcast is Revisionist History.

“The amount of criticism you get is a constant function of the size of your audience. So if you think that, generously speaking, 80% of the people who read your work like it, that means if you sell ten books you have two enemies. And if you sell a million books you have 200,000 enemies. So be careful what you wish for. The volume of critics grows linearly with the size of your audience.”

Thanks to MailChimp, Audible, and Squarespace for sponsoring this week's episode.

Adam Moss is the editor of New York Magazine.

“I think [change] is good for journalism—it’s what journalism is about. You can’t write about something static. News is about what is new. So there’s plenty of new right now. I’m not saying it’s good for the citizenry or anything like that, but, yeah, for journalists it’s an extremely interesting time. There’s no denying that.”

Thanks to MailChimp, BarkBox, Squarespace, and Sock Fancy for sponsoring this week's episode.

Hillary Clinton is the former Democratic nominee for president. Her new book is What Happened.

“I hugged a lot of people after [my concession speech] was over. A lot of people cried … and then it was done. So Bill and I went out and got in the back of the van that we drive around in, and I just felt like all of the adrenaline was drained. I mean there was nothing left. It was like somebody had pulled the plug on a bathtub and everything just drained out. I just slumped over. Sat there. … And then we got home, and it was just us as it has been for so many years—in our little house, with our dogs. It was a really painful, exhausting time.”

Thanks to MailChimp, Audible, and Casper for sponsoring this week's episode.

Dr. Jelani Cobb is a New Yorker staff writer and the author of three books, including The Substance of Hope: Barack Obama and the Paradox of Progress. He teaches journalism at Columbia University.

“Ralph Wiley — the sports writer, late Ralph Wiley — told me something when I was 25 or so, and he was so right. He said I should never fall in love with anything I’ve written. … The second thing he told me was, ‘You won’t get there overnight, and believe me, you don’t want to.’ I’m embarrassed to say that I didn’t get it when he told me that. I was like — why would I not want to get there overnight? Now I’m like: Thank God I didn’t get there overnight. Because there’s so much writing I would have to explain.”

Thanks to MailChimp, Quip, and Audible for sponsoring this week's episode.