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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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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Ira Glass is the host and executive producer of This American Life.

“You can only have so many questions about feelings, I think. At some point people are just like alright, enough with the feelings.”

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Lisa Brennan-Jobs is a New York-based writer. Her new book is Small Fry.

"You find yourself in a whole net, in a constellation of stories, each one connecting to another. It was amazing how much I remembered. Sometimes I meet people and they say, goodness, I can’t even remember what I had for lunch. How can you remember so much? And I think, oh, sit down for a while writing badly and you will remember and remember and remember. Some things weren’t terribly pleasant to remember. And some things were incredibly wonderful."

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Yudhijit Bhattacharjee is a contributing writer for National Geographic and the New York Times Magazine. His new podcast is Chameleon: Scam Likely.

“I want a crumpled piece of paper where there are enough ridges and valleys and lines for me to be able to navigate, and they have to be authentic. And then of course the best stories among them will have surprise and intrigue, and things that are completely unexpected happen somewhere along the way. But it's hard to anticipate all of that. You still have to have a little bit of faith.”

Mina Kimes is a writer for Fortune.

"A lot of people have asked me about my attitudes towards capitalism, or Wall Street in general. You know, there are companies on Wall Street that are doing good things, and there are companies on Wall Street that are doing bad things. At Fortune, our job is to look at both, and to explain why. I think in many cases, when it comes to the ones that are doing bad things, it takes people like us and other financial journalists to expose and question them."

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Jason Motlagh, a journalist and filmmaker, is a contributing editor at Rolling Stone and the founder of Blackbeard Films. He won the Polk's Sydney Schanberg Prize for “This Will End in Blood and Ashes,” an account of the collapse of order in Haiti.

“Once you've gotten used to this kind of metabolism, it can be hard to walk away from it. Ordinary life can be a little flat sometimes. And so that's always kind of built in. I accept that. I think I've just tried to be more honest about like, [am I taking this risk] because I need a bump my life? Or do you really believe in what you're doing? And I feel like I really do need to believe in the purpose of the story. There has to be some motivation greater than myself."

This is the last in a series of conversations with winners of this year's George Polk Awards in Journalism.

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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Ariel Levy is a staff writer at The New Yorker and the author of The Rules Do Not Apply.

“I don’t believe in ‘would this’ and ‘would that.’ There’s no ‘everything happens for a reason.’ Everything happens, and then you just fucking deal. I mean we could play that game with everything, but time only moves in one direction. That’s a bad game. You shouldn’t play that game—you’ll break your own heart.”

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Evan Osnos is a staff writer for The New Yorker. His new book is Wildland: The Making of America’s Fury.

“I'm always trying to get inside a subculture. That's the thing that I think has been the most enduring, attractive element for me. Is there a world that has its own manners and vocabulary and internal rhythms and status structure? And who looks down on whom? And why? And who venerates whom? Who's a big deal in these worlds? And if I can get into that, it doesn't even really matter to me that much what the subculture is. I'm fascinated by trying to map that thing out.”

Evan Ratliff, a co-host of the Longform Podcast, discusses "The Mastermind,” his new 7-part serialized story in The Atavist Magazine.

“On several occasions [sources] didn’t want to go into the details of how they were identified. They were just like, ‘My safety is in your hands. Just be careful.’ And I didn’t really know what to do with that. I was sort of trying to balance what to include and what not to include and trying to make these decisions. Will Paul Le Roux know it’s this person? It’s impossible to know. I tried to err on the side of caution, but there’s no ethics hotline you can call and be like, ‘What do I do in this situation?’”

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Patricia Bosworth is a journalist and biographer. Her latest book is The Men in My Life.

“The [acting] rejections are hellish and ghastly. At least they were to me. And I got tired of being rejected so much and also tired of not being able to control my life. And as soon as I became a writer, I had this control, I felt more active, more energized. But it was a decision that took a long time coming.”

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Tessa Hulls is a writer and artist whose work has appeared in The Rumpus, The Washington Post, and The Capitol Hill Times. Her new book, a graphic memoir, is Feeding Ghosts.

“This project is the thing I have spent my entire life running from. I was incredibly determined to never touch this, either personally or professionally. … It was more an eventual act of resignation than a desire.”

Tara Westover is the author of Educated.

“I used to be so fearful. ... I was afraid of losing my family. Then, after I had lost them, I was afraid that I made the wrong decision. Then I wrote the book and I was afraid that was the wrong decision. Everything made me frightened back then, and I just—I don't have that feeling now.”

David Grann is a staff writer for the New Yorker. His new book is The White Darkness.

“I do think in life, and in reporting, that reckoning with failure is a part of the process. And reckoning with your own limitations. I think that’s probably the arc and change I have made as I get older. Just as O’Shea doesn’t get the squid, failure is such an integral part of life and what you make of it. Too often we’re always focused on the success side, and I don’t always think the successes teach us as much as the journey and having things elude us. ... I'm being completely honest, I look at every story I've ever written as a failure. Because I always have some model, some perfect ideal, that I want to try to reach.”

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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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Mac McClelland is a human rights reporter for Mother Jones.

"There's a lot of strength and resiliance even in the worst stories ever. I mean, you do get bogged down by how much evil so many people are willing to perpetrate in the world. But I guess the little beam of sunshine that you're looking for, that hits me in the face in the morning, is just the character and intergrity of the people who are involved. "

Laura Shin is a journalist covering cryptocurrency and hosts the podcast Unchained. Her new book is The Cryptopians: Idealism, Greed, Lies, and the Making of the First Big Cryptocurrency Craze.

“I was extremely well-acquainted with what the failings were with our traditional financial system. I was seeing through my other reporting how everything works now, and really understanding, whoa, this is not a good system. And then getting this education on what bitcoin is, I understood right away: wow, this is going to change the world.”

Alexey Kovalev is a Moscow-based journalist and the author of the recent article, “A Message to My Doomed Colleagues in the American Media."

“It’s really disheartening to see how little it takes for people to start believing in something that directly contradicts the empirical facts that they are directly confronting. The Russian TV channel tells you that the pill is red, but the pill in front of you is blue. It completely alters the perception of reality. You don’t know what’s real anymore.”

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Malcolm Gladwell is a New Yorker staff writer, the author The Tipping Point and Blink, and the host of Revisionist History. His new podcast is Broken Record.

“The loveliest thing is to interview someone who’s never been interviewed before. To sort of watch them in a totally novel experience. Particularly when you’re interviewing them about things they never thought were worthy of an interview. That’s a really lovely experience. It’s like watching a kid on a roller coaster for the first time. But a celebrity is a very different kind of experience. The bar for them is quite high. They’ve been interviewed a million times, so you have to be on your game. You have to take them somewhere that’s a little unfamiliar to get them to perk up. Otherwise it’s just another of a long line of interviews. It’s a lot more demanding.”

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