Ted Conover is the author of five books and the recent Harper's article "The Way of All Flesh."

"My identity is a rubber band. It can stretch that way and it can stretch this way. When I get home it goes mostly back into the shape it's been, but not completely. And it's that not completely that is interesting and makes me who I am."</i>

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Sarah Maslin Nir, a reporter for The New York Times, recently published an exposé of labor practices in the nail salons of New York.

“The idea of a discount luxury is an oxymoron. And it’s an oxymoron for a reason: because someone is bearing the cost of that discount. In nail salons it’s always the person doing your nails, my investigation found. That has put a new lens on the world for me.”

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Khabat Abbas is an independent journalist and video producer from northeastern Syria, and the winner of the 2021 Kurt Schork News Fixer Award.

”I can see from my experience that there is a gap between the editors, who are kind of elites in their luxury offices, and the amazing journalists who are in the field, who all sympathize with what they are seeing on the ground and want to cover [it], but they have to satisfy the editors. And this is how we end up having little gaps in the ways of covering in general. It's not a matter of like, they shaped it in this way. The problem, I think, it’s bigger. How this industry is working, how this industry is deciding what they should cover.”

Joe Bernstein is a senior reporter for BuzzFeed News.

“The question of disinformation is almost an attempt to create a new mythology around why people act the way they do. I don’t mean to say that it’s some kind of nefarious plot. ... It’s a natural, or a convenient explanation. And that’s why I think it caught on for some time anyway.”

Anna Holmes, the founding editor of Jezebel, writes for The New York Times and is the editorial director of Fusion.

“I think that Jezebel contributed to what I now call ‘outrage culture,’ but outrage culture has no sense of humor. We had a hell of a sense of humor, that's where it splits off. ... The fact that people who are incredibly intelligent and have interesting things to say aren't given the room to work out their arguments or thoughts because someone will take offense is depressing to me.”

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Peter Hessler is a staff writer for The New Yorker.

“It may have helped that I didn’t have a lot of ideas about China. You know, it was sort of a blank slate in my mind. …I wasn’t a reporter when I went to Fuling, but I was thinking like a reporter or even like a sociologist: try to respond to what you see and what you hear, and not be too oriented by things you’ve heard from others or things you may have read. Be open to new perceptions of the place or of the people.”

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Aminatou Sow and Ann Friedman are co-hosts of the podcast Call Your Girlfriend and co-authors of the new book Big Friendship: How We Keep Each Other Close.

“People telling you about their lives is a real privilege and honor. No one owes you to tell you their story. Sometimes in the world of people who write or people who make media there is just this expectation that everything is on the table, especially if you’re two women who make media, that we’re supposed to just share our pain and everything that’s going on in our lives but that’s not fair and it’s not true and I think the larger project of this book is really sharing these stories in service of having an honest dialogue about how other people are doing friendship.”

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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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Adam Platt is the restaurant critic for New York.

“My job was described to me recently as ‘the last great job of the 20th century.’ I think there might be something to that.”

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Megan Kimble is the former executive editor of The Texas Observer and has written for The New York Times, Texas Monthly, and The Guardian. Her new book is City Limits: Infrastructure, Inequality, and the Future of America’s Highways.

“I have never lived in a city that was not wrapped in highways. It’s hard for me to imagine anything else. And I think that’s true for a lot of people today. ... [But] we have known since the origins of the interstate highways program that building highways through cities doesn’t fix traffic. And yet we keep doing it. To me, that really fueled a lot of the book. It wasn’t supposed to be this way.”

Gabriel Snyder is the editor-in-chief of The New Republic.

“I had a new job, I was new to the place, and I came to it with a great deal of respect but didn’t feel like I had any special claim to it. But in that moment I realized that there were all of these people who wanted to see the place die. And that the only way The New Republic was going to continue was by someone wanting to see it continue, and I realized I was one of those people now.”

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Sam Sanders is the former host of NPR’s It’s Been a Minute. He hosts Vulture’s Into It, which launched last week.

“I don’t think I ever wanted a career where I was doing the same thing for 30 years. I think that, editorially, I had become someone who was really contemplating what kind of capital-j journalist I wanted to be, want to be, and I was questioning a lot of rules and the structure of what we think journalism is supposed to be, and I think I needed to be away from a legacy institution like NPR, at least for a spell, to work that out.”

Helen Rosner is a food correspondent at The New Yorker.

“I believe the things that are really important to me are structure over all and—forgive me, I’ve said this on other podcasts before—if I were going to get a tattoo this is what I would get a tattoo of is that it doesn’t matter what you say, it only matters what they hear. It’s my job to make sure the gulf between those two things is as narrow as possible and there’s as little ambiguity between what I say and what you hear. It’s never easy, but it’s certainly easier in the realm of arguable objectivity. To create emotion in a reader requires a huge amount of really thoughtful work on the part of the writer in a way that forces you as a writer to remove yourself from the emotion you’re creating in the reader. If I to set you up for sadness, I have to create emotional stakes. I have to create investment in whoever I’m talking about or whatever the story’s about. The craft of making stakes and setting up a potential downfall, a potential loss, whatever it may be I think is not something you can do well if you’re feeling the feeling you’re trying to create in the reader.”

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Venkatesh Rao is the founder of Ribbonfarm and the author of Breaking Smart.

“I would say I was blind and deaf and did not know anything about how the world worked until I was about 25. It took until almost 35 before I actually cut loose from the script. The script is a very, very powerful thing. The script wasn’t working for me.”

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Christine Kenneally has written for The New Yorker, The New York Times, and The Monthly. Her 2018 Buzzfeed article, “The Ghosts of the Orphanage,” was nominated for a National Magazine Award.

"I understood that the abuse was a big part of the story. But the thing that really hooked me and disturbed me and I wouldn’t forget was the depersonalization that went on in these places. It wasn’t just that the records had been lost along the way. It became really clear that the information was intentionally withheld, and it was all part of just this extraordinary depersonalization that happened to these kids.”

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Andrea Bernstein is a journalist and co-host of Trump, Inc., a podcast from WNYC and ProPublica. Her new book is American Oligarchs: The Kushners, the Trumps, and the Marriage of Money and Power.

“Hope is an action. And I feel that writing and documenting is an action. When I stop doing those things, I will be hopeless. But because I am still doing those things, it means that I still have hope… so long as we continue to be actors in the world, we can be hopeful human beings.”

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Nancy Updike is a founding producer and senior editor at This American Life. Jenelle Pifer, a former Longform Podcast editor, is a senior producer at Serial. Their new three-part podcast, hosted by Updike and produced by Pifer, is We Were Three.

Updike: “I say it’s a story that’s a bit about COVID, but really about a family, and that’s the closest I’ve gotten to a short version. I don’t know. Why is that? I never have a short version of something I’m working on—never.”

Pifer: “We were doing a lot of talking about, for Nancy, what are the driving questions you tend to be attracted to? There were a few things we came up with, one of which was that you tend to gravitate toward stories where somebody is in the middle of something that they don’t know what to make of yet, and you kind of just want to sit with them and see what direction they walk in, or what they say, or what meaning they put onto something.”

David Grann is a staff writer for The New Yorker. His new book is The Wager: A Tale of Shipwreck, Mutiny and Murder.

“I became very haunted by the stories that [nations] don't tell. Nations and empires preserve their powers not only by the stories they tell, but also by the stories they leave out. … Early in my career, if I came across the silences in a story, I might not have highlighted them, because I thought, Well, there's nothing to tell there. And now I try to let the silences speak.”