Rebecca Traister writes for New York. Her new book is Good and Mad: The Revolutionary Power of Women's Anger.

“I don’t want my experience to be held up as so, ladies, your new health regimen is rage all day. Because the fact is we live in a world that does punish women for expressing their anger, that denies them jobs, that attaches to them bad reputations as difficult-to-work-with, crazy bitches. Because they’re reasonably angry about something they have every reason to be angry about. We live in a world in which black women’s anger is either caricatured and they get written off as cartoons, or regarded as threats and face steep, often physical penalties for expressing dissent or dissatisfaction. When I talk about this, I don’t mean it to be prescriptive, I mean it to be descriptive of a particular experience I had that was extraordinarily unusual but which made me question a premise that I think all of us internalize that the anger is bad for us. I no longer believe that that’s true.”

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Maria Streshinsky is the executive editor at Wired.

“Sometimes a story comes in and it’s really lovely and well done. And you think if you just got on the phone with this person and pointed out the structure is wrong here and the chronology is wrong here, ask them to change that and send them what is known at Wired as the ‘praise sandwich letter’: how wonderful something is, how much work it will need, how wonderful it will be. … It’s not the kiss of death, it’s ‘we have a lot of work to do.’ … There are lots of pieces that come in that you’ve assigned because it’s the person with the right information with the right access, and they’re a good reporter, but maybe not a terrific wordsmith. So, you do more rewriting. Then there’s the other person that’s a really lovely, lovely writer that doesn’t have the structure and the reporting so you push on that. It’s sort of a three or four-pronged thing—it depends on the piece. I will say, somewhat controversially, there aren’t that many pieces that come in pretty clean.”

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Kelefa Sanneh is a staff writer at The New Yorker. His book is Major Labels: A History of Popular Music in Seven Genres.

“I’m always thinking about how to not be that person at a party who corners you and tells you about their favorite thing and you’re trying to get away. It’s got to feel light and fun. And what that means in practice is writing about music for readers who don’t care about music, while at the same time writing something that the connoisseurs don’t roll their eyes too hard at.”

Barton Gellman is a staff writer for The Atlantic and was previously a Pulitzer-winning reporter at The Washington Post. His latest book is Dark Mirror: Edward Snowden and the American Surveillance State and his latest essay is "The Election That Could Break America."

“I have found that I have a talent for accidentally pissing people off. ... I’m interested most in accountability and the use and abuse of power. So naturally it’s going to annoy people sometimes. And sometimes they take it like grown-ups and sometimes less so.”

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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.”

Hua Hsu is a staff writer for The New Yorker. His book Stay True won the 2023 Pulitzer Prize for memoir.

“I've worked as a journalist … for quite a while. … But this [book] was the thing that was always in the back of my mind. Like, this was the thing that a lot of that was in service of. Just becoming better at describing a song or describing the look of someone's face—these were all things that I implicitly understood as skills I needed to acquire. ... It is sort of an origin story for why I got so obsessive about writing.”

Zach Harris is a journalist whose latest article for Rolling Stone is "Meet the Gen Z Hothead Burning Up Pro Bowling."

“I'm not like a staff writer who has … status and access. But if I come up with something fun that you've never heard of that might connect to the larger culture, then it kind of hits a nerve and a sweet spot for me. Someone like a pro skateboarder or a pro bowler, you guys have never heard of. And so being able to present a person and a culture and a world to a wider audience, I think suits me well and has been really a fun way to do profiles.”

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.”

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Irin Carmon is a senior correspondent at New York, a contributor at CNN, and the co-author of Notorious RBG: The Life and Times of Ruth Bader Ginsburg.

“The fact that we were part of this entire wave of reporting was actually exhilarating. Even when it was competitive. For me, my desire to do this comes out of a broader set of commitments to the world. I’m a feminist and I’m a journalist. The ability to do feminist investigative journalism felt like a gift. And it also felt like, wow, this thing I’d been working on for a long time is something that institutions—the most prestigious and well-resourced institutions—wanted to put resources to. … I think that that kind of commitment is significant in our culture because it is validating it as a point of inquiry.”

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Abe Streep is a journalist and contributing editor for Outside. His new book is Brothers on Three: A True Story of Family, Resistance, and Hope on a Reservation in Montana.

”The way journalists talk about, ‘Did you get the story?’—that's not how I see this. That would be extractive in this setting, I think. If someone shares something personal with me, that is a serious matter. It's a gift and you’ve got to treat it with great respect.”

Emma Carmichael, a former editor at Deadspin and The Hairpin, is the editor in chief of Jezebel.

"Online feminism has more and more rules lately. There are only so many things you can say. And while our opinions are getting more constrained online, personal feminism and face-to-face conversations are looser and more complicated and don't go by any rules. ... The ideal with Jezebel is getting to a point where you can say, 'This is what I think, so who gives a fuck.'"

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Kliph Nesteroff writes for WFMU's Beware of the Blog. His book, The Comedians: Drunks, Thieves, Scoundrels, and the History of American Comedy, was released in November.

“Well, comedy always becomes stale. Whether it’s offensive or not offensive, it has an expiry date, unfortunately. A lot of people don’t want to hear this because that means a lot of their favorite comedians suddenly become irrelevant. But that’s the history of comedy: the hippest, coolest guy today—whoever that is to you in comedy—50 years from now, the new generation is going to say, ‘That guy’s not funny, and he’s square.’ And they’re going to say, ‘This new young guy is funny.’ But in another 50 years that guy becomes the square who isn’t funny. And it’s not that they weren’t funny and everybody was wrong; it was that that person was relating to their time.”

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Claudia Rankine is a poet, essayist, and playwright. She is the author of the new book, Just Us: An American Conversation.

“I began to wonder, why am I maintaining civility around things that are actually very important to me? This might be the only chance I get to stand up for myself. As Claudia. As a Black person. As a Black woman. As an American citizen. So what am I waiting for? What am I preserving when the thing I am supposedly preserving is also the thing that is on some level killing me?”

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Vann Newkirk II is a senior editor at The Atlantic and the host of Floodlines: The Story of an Unnatural Disaster. His new podcast is Holy Week: The Story of a Revolution Undone.

“I’m often toggling between environmental justice, between the history of race and racial organization in America. And to me, they’re all one story, and I’m trying to tell the story about how the conditions of marginalization in America have made and shaped the present. That’s it. That’s one story.”

Amy Harmon, a Pulitzer Prize winner, covers the intersection of science and society for the New York Times.

"I'm not looking to expose science as problematic and I'm not looking to celebrate it. But it can be double edged. Genetic knowledge can certainly be double edged. Often the science outpaces where our culture is in terms of grappling with it, with the implications of it. Part of the reason for this widespread fear about GMOs is people don't understand what it is. I'm looking for an emotional way or a vehicle through which to get people to read about it. It's an excuse to talk about the science, not just explain it. … My contribution, what I can do, is try to tell a story that will engage people in the story and then they'll realize at the end that they learned a little bit about the science."

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Scott Anderson is a war correspondent and novelist. He’s written for The New York Times Magazine, Harper’s, Vanity Fair, and more.

“I really feel that what’s at the root of so many wars now, modern wars, unconventional wars, it really just comes down to a bunch of young guys with access to guns coming up with a pretext to rape and murder and pillage and steal from their neighbors.”

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Kevin Roose, a writer at New York, has contributed to The New York Times, GQ and Esquire. His latest book is Young Money: Inside the Hidden World of Wall Street's Post-Crash Recruits.

"Google will give you away. I feel like one undercover book is all you get these days before the jig is up. ... Unless, like Barbara Ehrenreich, you legally change your name. I was not quite prepared to go that far."

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Hannah Giorgis is a staff writer at The Atlantic. Her latest feature is "Most Hollywood Writers’ Rooms Look Nothing Like America.”

”In general, when we talk about representation, we talk about what we see on our screens. We're talking about actors, we're talking about who are the lead characters, what are the storylines that they're getting. And I'm always interested in that. But I'm really, really interested in power ... how it operates, and process.”

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.”

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Janet Reitman is a Rolling Stone contributing editor and author of Inside Scientology.

"I'm very open about the fact that I know nothing ... Every reporter should admit you know nothing, and when you do, there will be people that will take pity on you, and try to teach you. And then you have to be shrewd enough to know who's spinning you, and who is being genuine."

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.”