I think the daily challenge for a lot of beat reporters is, how do you get past the regurgitated sound bites of powerful people or evasion masters who are so used to this routine - the theatricality of press conferences and stage-managed interviews and teams of handlers?

I try to come to my reporting as a real, whole person, not an automaton. And it's always one of the strange discomforts of the job, that you're in this very intense moment in someone's life - you're engaging with them nonstop - and then suddenly your piece is out and that's done. It always reminds me that 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.

The tremendous challenge of narrative journalism about subjects that are underreported is, how do you make people care about something they think they already know about, or think they don't need to know about?

It's been nice, actually, to keep in touch with a lot of the people and families that I've written about. Like with the kids I was just writing about from Guatemala, who survived being kidnapped and fleeing violence, it was nice to just sit down in their living room and play bingo with them, go to dinner with the family. And sometimes not thinking about it in such a mechanistic "I am now coming to report and get what I need" way, but just spending time, helps you see a more natural version of who they are too.

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 the daily challenge for a lot of beat reporters is, how do you get past the regurgitated sound bites of powerful people or evasion masters who are so used to this routine - the theatricality of press conferences and stage-managed interviews and teams of handlers?

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 side.