Thinking through how you find that intersection between individual, compelling human narratives and structural, systemic injustices - that's the place that's most interesting to me as a reporter.

So much of our cultural representation of what an investigative journalist looks like, in movies and pop culture, is about this really testosterone-filled dude screaming, Give me what you got! I didn't see myself as someone who would be good at or comfortable with that.

For me, the part of reporting that's the most rewarding and energizing is just hearing directly from people whose voices haven't often been heard, or incorporated into mainstream media. That stuff is really, really gratifying, and so to realize that you could make a career of that part of it, that appealed to me.

One thing I've discovered is that I never think of something that didn't work out as just something that didn't work out. I think so often with investigative work, things that initially look like failures wind up leading to your biggest stories.

One thing I've discovered is that if you remain in contact with people, if you build longitudinal relationships, if you invest in sources who seem at first like they're uncomfortable or unwilling to talk, if you keep in touch with them, a year later that might yield something much more powerful.

When everyone's focused on the conventional parts of war - doing infantry imbeds or chasing IEDs - you look at the thing that seems not that interesting to people, like the circumstances of logistics workers cooking the troops' food or cleaning their latrines.

Often, my central challenge is figuring out how do I build trust, how do I acquaint people who've just endured some terrible event - losing their child to murder, say, or being sexually assaulted - with the bizarre and sometimes invasive nature of in-depth interviews that aren't just a quick list of ten questions?

Workers are actually being starved on the largest military base in Baghdad, and women are being raped with impunity - and because it doesn't fit into a Hollywood context it's not going to fly.

I think most of us, as writers, have had experiences where you get edited and it doesn't feel like your voice at all. And so it's been nice to go through the experience of having a lot wind up on the cutting-room floor, and yet still feel that your voice is being - not purified, but made more yourself. I think that's a very rare thing.

There’s no such thing as being totally ‘found’…the fun, I think, is in the searching.

I found it really astonishing that undocumented migrants were kidnapped so routinely, that it was such a commonplace part of the journey for people trying to reach the US, and that we hear almost nothing about it here.

There is space for a different kind of investigative reporting that's about immersion and obsessive attention to detail and deep listening.

I tend to only be able to obsess about one thing at once, and become fully engaged in and only interested in that thing. But in the longer term, a lot of my stories also give birth to other stories.

I tend to gravitate toward the act two, or act three, or act four stories - either things that are underreported, where we think we already know the common narrative, or things that are at the margins of an over-reported story, where we're all so focused in one direction that we're missing something crucial that's unfolding off to the

I wanted to think about ways to get an American readership concerned with what is happening in Mexico, but also to reframe it as a problem Americans share.