Jodi Kantor is a New York Times investigative reporter and the author of The Obamas. On October 5th, she (with Megan Twohey) published an article detailing decades of sexual harassment payoffs by Harvey Weinstein, and she has covered the story extensively since.

“Being a reporter really robs you of self-consciousness and shyness. You realize that it’s this great gift of being able to ask crazy questions, either really personal or very probing or especially with a powerful — to walk up to Harvey Weinstein, essentially and say, ‘What have you been doing to women all these years, and for how long? All of these other people may be afraid to confront you about it, but we are not.’ That is our job.”

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Mitchell Prothero covers intelligence and crime for Vice News. His new podcast with Project Brazen is Gateway: Cocaine, Murder, and Dirty Money in Europe.

“I’m really interested in transnational networks—crime, intelligence. I’m fascinated by the gray. Like, when is something legal and when is something illegal? One thing with this Gateway project [was that] nobody could ever tell me that moment where money goes from absolutely being illegal to being legal.”

Ta-Nehisi Coates is a national correspondent for The Atlantic. His latest book, Between the World and Me, just won the National Book Award.

“When I first came to New York, I couldn't see any of this. I felt like a complete washout. I was in my little apartment, eating donuts and playing video games. The only thing I was doing good with my life was being a father and a husband. That was it. David [Carr] was a big shot. And he would call me in, just out of the blue, to have lunch. I was so low at that point. ... He said, ​I think you're a great bet. ... He was remembering people who had invested in him when he was low. That more than anything is why I'm sad he's not here for all of this. Because it's for him. It's to say to him, ​you were right​.”

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Nick Bilton is a special correspondent for Vanity Fair and the author of American Kingpin: The Epic Hunt for the Criminal Mastermind Behind the Silk Road.

“I’ve been covering tech for a long, long time. And the thing I’ve always tried to do is cover the people of the tech culture, not the tech itself. … I've always been interested in the good and bad side of technology. A lot of times the problem in Silicon Valley is that people come up with a good idea that’s supposed to do a good thing—you know, to change the world and make it a better place. And it ends up inevitably having a recourse that they don’t imagine.”

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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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Emily Witt is a freelance writer and the author of Future Sex.

“I think I had always thought that—maybe this is coming from a WASPy, protestant background—if I presented myself as overtly sexual in any way, it would be a huge turnoff. That they would see me as a certain type of person. They wouldn’t have respect for me. And I thought this both professionally—I thought maybe writing this book was going to be really bad for my career, that nobody would take me seriously anymore—and also that nobody would want to date me if I was too honest. In both counts the opposite happened.”

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Kate Fagan is a columnist and feature writer for ESPN. Her latest book is What Made Maddy Run: The Secret Struggles and Tragic Death of an All-American Teen.

“When I was professionally closeted, I was kind of bitter. I didn’t have a ton of empathy. And I don’t think I always asked the right question, because I wouldn’t ask people questions that I wouldn’t want to be asked…I had walls up. I wouldn’t even allow myself to be vulnerable in my writing. Because the whole point of my existence at that time was to circumvent any moment that could create vulnerability in a way that would frighten me. And I think you could that see in my writing.”

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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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Molly Lambert is a writer and the host of the new podcast HeidiWorld: The Heidi Fleiss Story.

“I think as a writer… I always had this thing: I don't want to be out front. I don't want the spotlight on me. I'm not an actor. I want to be lurking in the back with the cast accepting the applause, but I don't want to be the center of attention. And so I think kind of like making peace with like, Look, man, it's fine to be the center of attention when you made something you're proud of.”

Ed Caesar is a freelance writer based in England whose work has appeared in The New Yorker, British GQ, and The Sunday Times Magazine. He is the author of Two Hours: The Quest to Run the Impossible Marathon.

“That was a really horrific situation. People were being killed in the street in front of us. People were firing weapons in all directions. It was really chaotic and quite scary. It freaked me out. And I thought, ‘Actually, there's not a huge amount more of this I want to do in my life.’”

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Reihan Salam is the executive editor of National Review.

"I’m incredibly curious about other people. I’m curious about what they think of as the constraints operating on their lives. Why do they think what they think? If I weren’t doing this job, I’d want to be a high school guidance counselor."

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Azmat Khan is an investigative reporter and a contributing writer to The New York Times Magazine.

"For me, what matters most is systematic investigation, and I think that’s different than an investigative story that might explore one case. It’s about stepping back and understanding the big picture and getting to the heart of something. It doesn’t have to be a number’s game, but being able to say: Look, I looked at a wide enough sample of whatever this issue is, and here is what this tells us. That is what I crave and love the most."

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Melissa del Bosque is an investigative journalist covering the U.S.-Mexico border.

“What I really want people to know is the context within which this traumatic event is happening. It doesn’t have to happen. It’s happening because certain people made certain decisions. Or they made a decision to do nothing. … There are laws, there are policies on the books that are either being ignored or could be changed.”

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Stephen J. Dubner is the co-author, with Steven D. Levitt, of Freakonomics. Their latest book, When to Rob a Bank, came out last week.

“I’ve abandoned more books than I’ve written, which I’m happy about. I’m very pro-quitting. We get preached this idea that if you quit something, if you don’t see something through to completion then you’re a loser, you’re a failure. I just think that’s a crazy way to look at things. But it’s also easy to overlook opportunity costs. Like, what could I be doing instead?”

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Kyle Chayka is a freelance writer who writes for Businessweek, The Verge, Racked, The New Yorker, and more.

“I love that idea of form and content being the same. I want to write about lifestyle in a lifestyle magazine. I want to critique technology in the form of technology, and kind of have the piece be this infiltrating force that explodes from within or whatever. You want something that gets into the space, and sneaks in, and then blows up.”

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Tommy Tomlinson, a former newspaper columnist, is the host of Southbound podcast. His new book is The Elephant in the Room: One Fat Man's Quest to Get Smaller in a Growing America.

“The thing that galvanized me was the death of my sister. I signed the contract November 2014, she died Christmas Eve of that year. She had been overweight just like me. She was older than me and died from complications, an infection that was directly connected to her weight. And that more than anything made me think if I don’t deal with this now, I’m not going to be around in 10 years to write this book. So, the book helped certainly. The idea that I was going to put this stuff on paper and expose myself in this way to the world and I didn’t want to be a failure at the end of it. More than that, I didn’t want to be a failure because I didn’t want to be a failure. I don’t want to die.”

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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.”

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Elizabeth Weil covers California and the climate for ProPublica. She has written for The New York Times Magazine, California Sunday, and more.

“As a journalist you’re endlessly asking people to tell you really personal, really vulnerable stuff about their lives. And I feel like you have to be willing to be in that conversation too—or really think about why you’re not willing.”

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Adam McKay is a film director, writer, and host of the podcast Death at the Wing.

“Sometimes you do a project and then you look back and you’re like, Ah, shit. I let some of myself get in the way of that. It sucks, but it’s also a part of it. And there are so many times where you’re excited that the story did take off, the wind did catch the sail and it went off on its own. And that just feels so good that it far outweighs the times when you make a mistake, or let something go wrong, or too long, or hit the wrong tone. Which is going to happen. There’s no way around it. But those times when it all just catches perfectly—it’s just so exciting that you keep doing it.”

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Jay Caspian Kang is a staff writer for The New Yorker and a co-host of Time to Say Goodbye.

“At some point, you have to kick it out the door, and it’s never finished to the degree that you would finish a magazine piece. But it, in some ways, is more interesting because it is produced in a short amount of time, and it’s read as something that is not supposed to be complete. It’s just meant to provoke or to provide thought or whatever, to provide some sort of context on a certain issue or not. And I actually like that a lot better than the magazine writing. I respect the magazine writers—obviously, I was one—but for my disposition now, in my lifestyle, I actually enjoy having to produce this thing every week.”

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