John Heilemann is the managing editor of Bloomberg Politics and the co-author of Game Change and Double Down.

"If you're a writer, and you're not an asshole, you want the maximum number of people to read your stuff. There's nothing wrong with that. There's no great glory in cultivating some niche audience. I do this work because I believe in what I'm doing. I'm not trying to compromise my principles or my standards to get a larger audience. But once I've written the thing of which I feel confident and proud, which I feel is ethically and journalistically sound, I then want the maximum number of people to read it."

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Jennifer Senior is a contributing editor at New York and the author of All Joy and No Fun: The Paradox of Modern Parenthood.

"I've had moments in motherhood that have been close to something like religious. But I don't think social scientists say things like, "How many numinous moments have you had?" They don't do that, so you have to figure out what to do. I was suddenly turning to other texts to try and explain all of this."

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David Gessner is the author of ten books. His latest is Ultimate Glory: Frisbee, Obsession, and My Wild Youth.

“The ambition got in my way at first. Because I wanted my stuff to be great, and it froze me up. But later on it was really helpful. I’m startled by the way people don’t, you know, admit [they care] … it seems unlikely people wouldn’t want to be immortal.”

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PJ Vogt is the co-host of Reply All.

“Every radio story is broken. Everything is missing some piece it’s supposed to have. Everything has some weird interview that didn’t go the way you thought it was going to go, or you thought you had an answer but you were wrong.”

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Ben Austen is a journalist and the author of High-Risers: Cabrini-Green and the Fate of American Public Housing. Khalil Gibran Muhammad is the Ford Foundation Professor of History, Race and Public Policy at Harvard Kennedy School and the author of The Condemnation of Blackness: Race, Crime, and the Making of Modern Urban America. Together they host the podcast Some of My Best Friends Are.

”We're not pretending to have all the answers, but we are attempting to say, ‘this is a real issue and it can't be covered up by simply ignoring it.’ And if you can see it for what it is and all of its full dimensions, you have a better shot at bringing people along to get the work done to fix it.”

Sam Anderson is a writer for New York Times Magazine and the author of Boom Town.

“I love being in that place where everything is just coming in, and everything is potentially important, and I’m underlining every great sentence that John McPhee has ever written and then I’m typing it up into this embarrassingly long set of reading notes, documents, organized by books. And then when you sit down with it as a writer who has a job, and his job is to fill a little window of a magazine or website, all of that ecstatic inhaling has to stop. You realize that you’ve collected approximately 900,000% of what you need or could ever use.”

Julia Turner is editor-in-chief of Slate.

“That’s what we’ve been focused on: trying to double down on the stuff that feels distinctive and original. Because if you spend all your time on a social platform, and a bunch of media brands are optimizing all their content for that social platform, all those media brands’ headlines say the same, all the content is pretty interchangeable. It turns media into this commodity where then what is the point of developing a media company for 20 years? You might as well take the Silicon Valley approach and just make a new one every three years for whatever that moment is.”

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Elif Batuman is a novelist and a staff writer at The New Yorker. Her latest article is “Japan’s Rent-a-Family Industry.”

“I hear novelists say things sometimes like the character does something they don’t expect. It’s like talking to people who have done ayahuasca or belong to some cult. That’s how I felt about it until extremely recently. All of these people have drunk some kind of Kool Aid where they’re like, ‘I’m in this trippy zone where characters are doing things.’ And I would think to myself, if they were men—Wow, this person has devised this really ingenious way to avoid self-knowledge. If they were women, I would think—Wow, this woman has found an ingenious way to become complicit in her own bullying and silencing. It’s only kind of recently—and with a lot of therapy actually—that I’ve come to see that there is a mode of fiction that I can imagine participating in where, once I’ve freed myself of a certain amount of stuff I feel like I have to write about, which has gotten quite large by this point, it would be fun to make things up and play around.”

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Jeff Sharlet writes about politics and religion for Esquire, GQ, New York Times Magazine, and more.

“I like the stories with difficult people. I like the stories about people who are dismissed as monsters. I hate the term ‘monster.’ ‘Monster’ is a safe term for us, right? Trump’s a monster. Great, we don’t need to wrestle with, ‘Uh oh, he’s not a monster. He’s in this human family with us.’ I’m not normalizing him. I’m acknowledging the fact. Now, what’s wrong with us? If Trump is human, what’s wrong with you?”

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Michael J. Mooney is a staff writer at D Magazine and the author of The Life and Legend of Chris Kyle.

“There are some elements of crime stories that are so absurd that it’s funny, and so working on the “How Not to Get Away With Murder” story, it was actually really funny thinking about it for a long time. Until I met Nancy Howard, the woman who was shot in the face and has one eye now. This is her entire life, and it was destroyed. This is not a crime story to her, it’s her life.”

Thanks to MailChimp, </em>Feverborn</a>, Audible, and Squarespace for sponsoring this week's episode.</p>

David Epstein has reported for ProPublica, Sports Illustrated, and This American Life. His new book is Range: Why Generalists Triumph in a Specialized World.

“You can’t just introspect or take a personality quiz and know what you’re good at or interested in. You actually have to try stuff and then reflect on it. That’s how you learn about yourself—otherwise, your insight into yourself is constrained by your roster of experiences.”

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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.”

Starlee Kine is a contributor to This American Life and the New York Times Magazine.

"There's a fearlessness I had when I was younger that I don't have now ... It threw me into a crisis, the Internet in general. You're more cautious about what you kind of have out there. There's that, that I just don't want people to know every single thing anymore, but there's [also] an inner fear that did not exist before, an inner censoring that was not there."

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Susan Orlean is a staff writer at The New Yorker.

"There's always the fear, which comes with having done it for a long time, that you're repeating yourself. That's actually a genuine concern—you worry that you're becoming an imitiation of yourself ... The funny thing is that you spend the first half of your career wanting desperately to have a voice that's distinctive and recognizable, then you go to the other side of that and think oh my god, all my stories sound the same."

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Meghan Daum's latest book of essays is The Unspeakable.

“As writers we think, well there has to be closure, there has to be a beginning middle end, the character has to go through a change. And then in life we're supposed to have some sort of arc or aha moment, as if the experience isn't legitimate unless we get something out of it. That's so culturally constructed, as they say. It's so artificial.”

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Isaac Chotiner conducts interviews for The New Yorker.

“People like to talk. They like to be asked questions, generally. In the space that I’m doing most interviews, which is politics or politics-adjacent, people have strong views and like to express them. It may be just as simple as that.”

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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.”

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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Elif Batuman is a novelist and a staff writer at The New Yorker. Her latest article is “Japan’s Rent-a-Family Industry.”

“I hear novelists say things sometimes like the character does something they don’t expect. It’s like talking to people who have done ayahuasca or belong to some cult. That’s how I felt about it until extremely recently. All of these people have drunk some kind of Kool Aid where they’re like, ‘I’m in this trippy zone where characters are doing things.’ And I would think to myself, if they were men—Wow, this person has devised this really ingenious way to avoid self-knowledge. If they were women, I would think—Wow, this woman has found an ingenious way to become complicit in her own bullying and silencing. It’s only kind of recently—and with a lot of therapy actually—that I’ve come to see that there is a mode of fiction that I can imagine participating in where, once I’ve freed myself of a certain amount of stuff I feel like I have to write about, which has gotten quite large by this point, it would be fun to make things up and play around.”

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

Joshua Topolsky is editor-in-chief of The Verge.

"Sometimes you tell stories that people don't know they need to read yet. You have to keep telling those kinds of stories, and eventually people will wake up to them. Of course we look at traffic. But the main thing is, are we doing good work? At the end of the week or the end of the day, do I think, that was awesome, I'm really glad we wrote that?"

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</blockquote>

Natasha Vargas-Cooper has written for GQ, Spin and BuzzFeed.

"Writing is the worst part of this gig for me. I hate sitting down and writing; it's being with my worst self. … But then, when it's over, it's the best. I have no greater joy than reading what I've published—with the exception of some editors who have fucked up my shit."</i>

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</blockquote>

Ben Taub is a contributing writer at The New Yorker.

“I don’t think it’s my place to be cynical because I’ve observed some of the horrors of the Syrian War through these various materials, but it’s Syrians that are living them. It’s Syrians that are being largely ignored by the international community and by a lot of political attention on ISIS. And I think that it wouldn’t be my place to be cynical when some of them still aren’t.”

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Cord Jefferson is the West Coast editor at Gawker.

"I consider myself to be a sincere human being. And I think that the way the internet carries itself, the way the internet has dialogues, is often insincere. That concerns me. I don't ever want to lose my sincerity. I don't ever want to lose my ability to feel emotional about things that I write about. I don't ever want to have a distance from everything that I write. I think that can be a danger of writing too much for the internet, that you develop this elitist distance from everything. That nothing really matters, you know?"

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Rachel Khong is a journalist and author whose latest novel is Real Americans.

“It's about the ways in which we miss each other as human beings and can't fully communicate what it is like to be ourselves. … And I think that's what makes it so interesting to me, to work on a novel and to spend so much time trying to get down on the page what it feels like to be a human being who's alive. … I think the effort itself is what human relationships are.”