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.

I think when I was doing my very first interviews, I probably brought a notepad and did ask people my first fifteen questions while sitting in a Starbucks or something horrible like that. And I found that, oftentimes, the most important thing at the very first interview is just establishing a personal connection and developing some sort of rapport so that I can go back to them again, and then maybe again, and maybe again after that.

I feel like I partly came to writing through being in college during the start of the Iraq war, and knowing that those issues mattered lot to me, and wanting to go see for myself.

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.

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.

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.

The journalist's job isn't to be someone's friend, or their psychologist, or anything other than what we actually are. And at the end of the day, that can definitely seem like such a strange, extractive relationship.