Rukmini Callimachi covers ISIS for The New York Times and is the host of Caliphate.

“My major takeaway that I have come away with in this work is go to the enemy. Talk to the enemy. I think that the way that Al Qaeda and ISIS is typically covered is by reporters who just speak to officials in Washington. ... That’s only one side of the story. And I have learned so much by seeking out their documents, reading their propaganda ... speaking to them themselves.”

Thanks to MailChimp, Read This Summer, Google Play, and Stitcher Premium for sponsoring this week's episode.

Anne Helen Petersen writes for BuzzFeed. Her book Scandals of Classic Hollywood is out this week.

"I was obsessed with Entertainment Weekly from the very first issue and I obsessively catalogued it. I made a database on my Apple IIe where I put in the title of the magazine and the number and whether it was a little 'e' or a big 'E' on the cover and the different topics and then I gave it a grade. You know how in Entertainment Weekly they give everything a grade, so I’d be like 'Oscar’s Issue: A minus.' But I learned how to obsessively track Hollywood industry even though I grew up in a very small town in northern Idaho."

Thanks to TinyLetter, Bonobos, and EA SPORTS FIFA 15 for sponsoring this week's episode.

Jim Nelson is the editor-in-chief of GQ.

“One of the things that was initially a challenge was we would all think of ‘the print side’ and ‘the digital side.’ Now what we all think about is, ‘Okay, stop saying GQ.com and GQ the print edition. It’s just GQ!’ And once you cross that line, you don’t ever want to go back to it. I can’t imagine. The job has changed so much, even in the last three years, that when I look back, I think, ‘God, I was just such a quaint little fucker.’”

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

Sean Fennessy is the editor-in-chief of The Ringer and a former Grantland editor. He hosts The Big Picture.

"What I try to do is listen to people as much as I can. And try to be compassionate. I think it’s really hard to be on the internet. This is an internet company, in a lot of ways. We have a documentary coming out that’s going to be on linear television that’s really exciting. Maybe we’ll have more of those. But for the moment, podcast, writing, video: it’s internet. [The internet] is an unmediated space of angst and meanness and a willingness to tell people when they’re bad, even when they’ve worked hard on something. That’s like the number one anxiety that I feel like we’re dealing with on a day-to-day basis with everybody, myself included."

Thanks to MailChimp, Mubi, and "Dear Franklin Jones" for sponsoring this week's episode.

Emily Bazelon is a staff writer at the New York Times Magazine and the author of Sticks and Stones.

"There’s nothing purely, or maybe even at all, altruistic about this exchange. It’s transactional in the Janet Malcolm classical sense, but also in the emotional sense. There is a way in which I’m super open. I take in these experiences. They keep me up at night. They really get inside me. But then, I'm also using them to craft whatever I’m working on."

Thanks to TinyLetter for sponsoring this week's episode.

Karina Longworth is a film writer and the creator/host of You Must Remember This, a podcast exploring the secret stories of Hollywood.

“For me the thing that’s exciting about it is that it’s research, and it’s reportage, and it’s criticism. But it’s also art. It’s creatively done. It’s drama. It consciously tries to engage people on that emotional level.”

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

Patricia Lockwood is a poet and essayist. Her new book is Priestdaddy: A Memoir.

“[Prose writing is] strange to me as a poet. I’m like, ‘Well I guess I’ll tell you just what happened then.’ But the humor has to be there as well. Because in my family household…the absurdity or the surrealism that we have is in reaction to the craziness of the household. So something like your underwear-clad father with his hand in a vat of pickles, sitting in a room full of $10,000 guitars and telling you that he can’t afford to send you to college—that’s bad. That’s a sad scene. But it’s also totally a lunatic scene. It’s, just the very fact of it, all these accoutrements, all the elements of the scene—they are funny.”

Thanks to Audible and MailChimp 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.

Carvell Wallace is a podcast host and has written for The New Yorker and The New York Times Magazine. He is the co-author, with Andre Iguodala, of The Sixth Man.

“So much of my life experience coalesces into things that are useful… All those years that I was obsessing over this that or the other thing, all the weird stuff that I would do, all the weird things that happened to me, all the places I found myself in that I didn’t want to be in but were interesting - this is all part of what makes me the writer that I am today.”

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

Nilay Patel is editor-in-chief of The Verge and hosts the podcast Decoder.

“The instant ability—unmanaged ability—for people to say horrible things to each other because of phones is tearing our culture apart. It just is. And so sometimes, I’m like, Man, I wish our headline had been: ‘iPhone Released. It’s A Mistake.’ … But I think there’s a really important flipside to that … a bunch of teenagers are able to create culture at a scale that has never been possible before. Also, a bunch of marginalized communities are able to speak with coordinated voices and make change very rapidly. And that balance—I don’t think we’ve quite understood.”

Thanks to Mailchimp for sponsoring this week's episode.

Heidi Blake is a writer for The New Yorker and the author of two books, From Russia with Blood: The Kremlin's Ruthless Assassination Program and Vladimir Putin's Secret War on the West and The Ugly Game: The Corruption of FIFA and the Qatari Plot to Buy the World Cup, with Jonathan Calvert. Her latest article is “The Fugitive Princess of Dubai.”

“I definitely feel as an investigative reporter that I feel very driven by my own capacity for shock and outrage and genuinely feeling like this is unbelievable. And that kind of makes me want to keep digging. And once I stop feeling that on any given topic, I lose interest. And so I’ve always been a generalist, and I just kind of rove from one topic to the next. I’m always finding myself in new territory where I know absolutely nothing about the thing I’m starting to dig into and have to try and play catch up and get my head around something new.”

Kathryn Schulz is a staff writer for The New Yorker. "The Really Big One," her article about the rupturing of the Cascadia fault line, won the 2016 Pulitzer Prize.

“I can tell you in absolute sincerity: I didn't realize I was writing a scary story. Obviously I know the earthquake is going to be terrifying, and that our lack of preparedness is genuinely really scary. But, as I think often happens as a reporter, you toggle between professional happiness, which is sometimes, frankly, even professional glee—you’re just so thrilled you’re getting what you’re getting—and then the sort of more human and humane response, which comes every time you really set down your pen and think about what it is you’re actually reporting about.”

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

Matthew Power is a freelance writer and contributing editor at Harper's.

"The kind of stories I've gotten to do have involved fulfilling my childhood fantasies of having an adventurous life. Even though I don't make a ton of money doing it, I've never felt like I was missing out on something. I haven't worked in an office since a two-week stint as a fact checker at House and Garden magazine in 2001, so that's 12 years, and I haven't starved to death yet."

Thanks to TinyLetter for sponsoring this week's episode!

</blockquote>

Rukmini Callimachi covers ISIS for The New York Times. Part 1 of this episode is available here.

“Ever since I started in journalism, I feel like I'm perpetually winded. Like I'm just running as hard as I can to stay ahead of this train that's crashing. The caboose is falling off the back and I'm trying to run faster than the train to get to this very limited pool of amazing jobs. Once I got overseas I would say a prayer every night for the amazing life I was finally able to lead.”

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

Dan Taberski is the host of Missing Richard Simmons and Surviving Y2K.

“Why would you walk into podcasting, where not a lot of rules have been written yet, why would walk into that space and be like, I'm just going to stick to the rules over here. It doesn't make any sense. ... Sourcing, respect for privacy — all these rules are here for a reason. And there's a line you shouldn't cross. But I don't see the point of not walking up to that line and looking over it. Because that is where interesting stuff is happening. ... To be able to earn that ability to cross the line a little bit and then jump back to where you belong, I think that's where beautiful storytelling happens.”

Thanks to MailChimp and Pitt Writers for sponsoring this bonus episode.

Ed Yong is the author of I Contain Multitudes and a science writer at The Atlantic. His most recent article is "How the Pandemic Will End."

“Normally when I write things that are about a pressing societal issue, those pieces feel like they’re about things that need to get solved in timeframes of, say, months or years. ... But now I’m writing pieces that are affecting people’s choices and lives, and hopefully the direction of the entire country, on an hourly basis. The changes I hope to see, I hope to see immediately. Like right now. And that does create a massive sense of urgency, a sense of pressing, incredibly high stakes. And it’s a burden.”

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

Dana Goodyear is a staff writer for The New Yorker and host of the new podcast Lost Hills.

“I do find people who take risks—artistic and physical or even intellectual risks—really interesting. ... There are so many people that I have written about who take a really long time with their projects, whether years or decades, and they might or might not work out. ... They just don't go along with what's received, and they—at a great personal cost—often do things that are very different. And then those things are the things in our world that are the most fascinating or feel the most human.”

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

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.”

Susan Glasser, the former editor of Politico and Foreign Policy, writes the "Letter from Washington" column for the The New Yorker. Her most recent book, written with Peter Baker, is The Divider: Trump in the White House, 2017-2021.

“There’s a great benefit to leaving Washington and then coming back, or frankly leaving anywhere and then coming back. I think you have much wider open eyes. Washington, like a lot of company towns, takes on a logic of its own, and things that can seem crazy to the rest of the country, to the rest of the world, somehow end up making more sense than they should when you’re just doing that all day long, every day.”

Robin Marantz Henig, the author of nine books, writes about science and medicine for The New York Times Magazine.

“I have my moments of thinking, ‘Well, why is this still so hard? Why do I still have to prove myself after all this time?’ If I were in a different field, or if I were even on a staff, I’d have a title that gave me more respect. I still have to wait just as long as any other writer to get any kind of response to a pitch. I still have to pitch. Nothing is automatic, even after all these years of working at this.”

Thanks to MailChimp, Johnson & Johnson, and Audible.

Rafe Bartholomew is the former features editor at Grantland and the author of Two and Two: McSorley’s, My Dad, and Me.

“I never saw it as something negative because [my dad] comes out, to me, at the end, extremely heroic. … He becomes this dad who I idolized as a bartender, a guy who would hang out with me and make me laugh, a guy I just adored almost every step of the way. I mean, of course, everybody gets into fights. But to me it was always so obvious that he had overcome the problems in his childhood, he’d overcome his own drinking problem, he’d done all these things, and by the time I was older, he’d even found a way to get back into writing and self-publish a couple of books of poems about the bar. So he’s sort of managed to tick off all those goals, just maybe not on the same schedule, maybe not in the most normal way.”

Thanks to MailChimp, V by Viacom, and 2U for sponsoring this week's episode.

Sarah Ellison is a special correspondent at Vanity Fair and the author of War at the Wall Street Journal.

“There’s no lack of stories. ... There’s always an element where you’re going to be parachuting into something that someone has likely written about, to some degree. You can’t shy away from going into something that’s a crowded field.”

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

Michelle Dean is a journalist and critic. Her new book is Sharp: The Women Who Made an Art of Having an Opinion.

“There isn’t one answer. I wish there was one answer. The answer is: You just have to wing it. And I’m learning that — I’m learning to be okay with the winging it. ... I guess the lesson to me of what went on with a lot of women in the book is: You have to be comfortable with the fact that some days are going to be good, and some days are going to not be good.”

Thanks to MailChimp for sponsoring this week's episode.

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.

Sabrina Rubin Erdely, a contributing editor at Rolling Stone, has also written for GQ, Philadelphia and SELF.

"I think that people are, by their nature, good and want to act rightly. So I'm very interested in why people do these things that result in really bad actions. My lack of outrage actually is one of the things that probably helps me in my reporting because I really am propelled by this pure curiosity. ... I just want to know, 'Where did that come from?'"

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