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The Atlantic’s Sarah Zhang on covering the science and emotion of being human

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In recent years I have come to accept the idea that I am in fact little more than a bag of flesh and bones, a fallible body propelled by a fallible brain.

Sometimes I deal with my existential malaise by turning to the pages of The Atlantic, whose health and science team seems to have an uncanny ability to take me down deeply satisfying yet infinitely varied rabbit holes. For example, the work of Sarah Zhang, who joined the magazine in 2016, for example, ranges from a feature on why so many kids to Covid drugs for cats and how medical breakthroughs are transforming the lives of patients whose diseases were once thought to be incurable.

This week, The Atlantic launched Being Human, a new site section and newsletter that will showcase its health coverage. It’s part of a larger expansion into health and science coverage at the magazine, which recently hired three new staff writers and two contributing writers to the team.

“A lot of the motivation behind this expansion is that health coverage is the most personal and human journalism that exists,” Paul Bisceglio, editor of The Atlantic’s health, science, and technology sections, told me. “These are, at their core, stories about people’s lives and the things that affect us day to day. I want to know what it is like to be a person, a creature, living on this earth and encumbered by a body with a brain.”

The section was planned long before the election took place, and Bisceglio imagines that even though there will likely be coverage of how the new administration changes the face of healthcare in America, there will also be plenty of room for stories big and small, newsy and non-newsy — things that, he says, will have “deep emotional contours.”

Many of us at Nieman Lab think Zhang is a master of capturing those deep emotional contours, and I decided to call her up to talk about how she thinks about her work. Our conversation has been edited for length and clarity.

Neel Dhanesha: I’ve been thinking a lot about the value of wonder in science journalism lately. I started out at Radiolab, which felt very much like a place that leaned into wonder, or at least an appreciation of the unknowable, and I think I carried that forward when I covered science at other places, too. But I’ve also been trying to figure out what the value of wonder is in our work — it’s a fun feeling, but it can also be a trap, I think, and it’s not exactly something you can sell an editor on all the time. What’s your relationship to wonder like?

Sarah Zhang: I came into journalism because I studied science in college, and I took traditional biology classes that totally blew my mind. I spent my spring break snorkeling for a week off the coast of Panama, seeing the most magical, alien, wonderful sea creatures. When I got into journalism, that’s what I wanted to get across: just how wild the Earth is, or the solar system is.

Over time, my own interests have evolved a little bit. Maybe it’s because I spend less time in science and more time outside of academia, in the real world around humans. [For me] it’s not necessarily wonder that sparks every story, but there’s always some sort of emotional pull to any [successful] story — whether it’s an “oh” or “oh God” or “oh my god, I can’t believe that.” Sometimes, before I understand intellectually why a story is interesting or good, if I feel myself emotionally gravitate to a story, it probably means there’s something there. I still have to do the reporting and the research to figure out how to put it into words. But I think I have to have that feeling for it to be a good story.

Dhanesha: That’s interesting, because emotion as a driving factor is looked down on in science itself. Was that part of the draw for you from when you switched from academia to journalism?

Zhang: I wouldn’t have explicitly said that, but maybe it’s true. I think a lot of day-to-day science is a boring grind, which is why I was not suited to working in a lab. Science isn’t really epiphany moments. But I like those moments when things suddenly make sense and you suddenly change your mind. Those are often interesting ways into a story: why someone changed their mind, or why a whole field suddenly changes something they think. That doesn’t happen very often if you’re just, like, studying a single protein in the lab. Most likely, the thing you’re studying is not going to completely revolutionize science.

Just thinking about pure emotion is, of course, not how you should go about writing about science. Like, “vaccines cause autism” is a story that would have a really strong emotional pull. But [the idea that vaccines cause autism] is not true. You can’t write about things that aren’t true just because they would be emotional or people would click on them and want to read them for that reason.

I don’t think [emotion] is the only factor in any way, but it’s often a starting seed for stories.

Dhanesha: Health reporting takes so much care, and you must experience a lot of raw emotion from your sources. I was really struck by the emotions in, for example, your story about the drug Trikafta and the impact it’s had on patients with cystic fibrosis. You talked to patients who experienced both relief and shock at the fact that they could live long lives in ways they hadn’t conceived of before. How do you navigate those emotions and relationships as a reporter?

Zhang:: I’ve always liked to think of myself as a brain floating through space. I don’t like to think about my physical body at all. I don’t like to exercise, I probably don’t eat as well as I should, and I like to think my mind somehow transcends my physical self. But [I got] older and my body [became] fallible. I also had a kid. Being pregnant and having my body totally change — feeling my personality become different, even though I was still me and still had the same brain, but my hormones were all over the place and I felt like a different person — that made me think a lot about how health and identity are intertwined, how our physical condition constrains and expands the way we think about ourselves.

You feel like a really different person when you’re healthy versus when you’re sick. That influenced how I thought about [the cystic fibrosis] story.

The starting piece, though, was the news that the Make-A-Wish Foundation had decided to no longer automatically qualify kids with cystic fibrosis. That was the little bit of news that really grabbed me.

If you go from being sick your entire life and being told you’re probably going to die young, and then that goes away, obviously, that’s amazing. That’s a miracle. But it’s also destabilizing to your sense of self. Having experienced a little bit of that in my life, and seeing how that changed other people, I have been so interested in the nexus of health and one’s own identity, and how we construct our identity based on what our physical bodies are. There’s all this stuff that we have zero conscious control over. Our brains can’t control our immune systems, at least not in any sort of direct, connected way.

Dhanesha: You write a lot of high-stakes stories; your COVID coverage had an obvious urgency to it, as do pieces like your story about how abortion laws are impacting doctors. You also write what might be thought of as low-stakes stories, like the one about hydroxyapatite toothpaste. How do you balance the “important” and the “unimportant” stories?

Zhang: The thing about health is that even sort of low-stakes stories are still very relevant to your everyday life. I brush my teeth every day, right? I think about what toothpaste I’m using every single day. Another story I wrote that’s kind of in this genre was about how everything I thought about nasal congestion is wrong. Is it the biggest problem we face in public health? No, but I was getting sick all the time because my daughter was in daycare, so I was thinking about being congested all the time.

The inspiration for that story was a little unusual: I’d written a story a few months before that about over-the-counter decongestants that don’t work, and how they should be pulled. In the course of that, I called up a few experts to get quotes. And this one guy just happened to be the expert on the nasal cycle and how we have two noses.

That interview was fascinating, but it couldn’t go into the story about decongestants. I talked to my editor and said I thought we needed to write about it at some point, and she agreed. Then a few months went by and it was the fall, sickness season, so it was a good time to go back to it.

Most people aren’t dying of nasal congestion, but it’s something we all have experience with. I’m getting over a cold right now, so speaking from very recent experience, it really sucks. It’s still viscerally important to your life even if it’s not a life or death situation. Everyone has a body, so they can relate.

Dhanesha: You’ve written quite a bit about breakthroughs in medicine — the Trikafta story being an obvious recent example — but it’s often hard to tell when something new really is a breakthrough. How do you decide when a medical advancement is worth writing about? Is there a story threshold?

Zhang: I see headlines about breakthroughs all the time, and I never read those stories because I just never believe them. My bar is honestly quite high. I think it has to be in humans, so it can’t just be an animal study. And it has to be, if not exactly cured, then perhaps cured — something that completely took away the symptoms of a disease we thought was incurable.

I’ve been writing a lot about autoimmune allergic diseases lately. [That’s an area where] there has been a lot of progress — a lot of it is incremental, but progress in understanding specific parts of the immune system so we can treat things like food allergies or eczema or lupus. These allergic autoimmune diseases are rising for reasons we can’t exactly answer, but also, we are understanding the immune system enough to actually do something about it. I think the progress medicine has made in that area is somewhat underappreciated.

Dhanesha: It’s been really interesting to see that progress become sort of everyday. I’ve been noticing a bunch of ads for biologics [medicines derived from organic matter rather than chemically synthesized] on Hulu recently. To me, that’s a clear indicator of these breakthroughs becoming mainstream. It’s a cultural sign of medical progress.

Zhang: Exactly. And all the innovation in biologics [has given us] tools to target things we weren’t able to target before.

Dhanesha: How do you think about your audience? The Atlantic is a general-interest magazine, and people are coming there for all sorts of coverage. I’m curious if that ever impacts the way you go about your work; I feel like you’re often walking a line between the universal experience of having a body and the complicated intricacies of science.

Zhang: I don’t necessarily explicitly think about audience when I’m writing. I just try to write what I think would be a good story.

Related to our conversation about wonder, I feel like there’s been a real shift since when I started almost 15 years ago. It was a very social media– — especially Facebook- — driven world, and everyone was trying to get as many readers as possible. Now, it’s a fairly different subscription-based model. I think the things that make someone share a story are actually quite different from what makes someone pull out their wallet and subscribe.

I remember talking to an editor early in my career, many years ago, who said people like to share things that make them look smart. Science [journalism] probably benefited, somewhat, from that. But to get someone to subscribe, you have to maybe be more viscerally relevant to their life — whether it’s about a rare disease they have, or congestion.

I think health is viscerally relevant to people’s lives, so I think that sort of always connects to the audience. But I try not to get too in my head about who’s reading my stories, and just try to write the best version of the story I can.

Dhanesha: Do you ever look at your audience numbers? That’s something I’ve always hated doing myself.

Zhang: I do. And I think it’s because I came up in the Gawker big board era, when the metrics were updating live on the office wall. I’ve been unable to entirely deprogram my brain from that. I’m curious about how the internet works, so I think it’s helpful to understand where readers come from — a platform, or someone’s Substack? I don’t think I’d have much success in trying to reverse-engineer that and write stories tailored to that audience.

Dhanesha: There’s this old argument that science is supposed to be apolitical, and I think the last four years in particular have shown us how that’s very much not true. Even though people’s experiences of their own bodies are individual, their medical experience is part of a large, often broken system that affects everyone. How have you navigated that, and how are you thinking about the next four years?

Zhang: I’m not sure I have the right answer. In some ways, my editorial interests are to find something no one is thinking about and write about it, or shed new light on something that [people] didn’t necessarily think was going on. That’s really the opposite of reporting on science and politics, which are so in the news every single day. I think there’s probably a balance. I wrote a lot about COVID, and I’ve written about RFK and his policies.

I think individual experiences are the most powerful way to show how a system is broken. It can be hard, in the abstract, to understand that. There are other reporters who are more policy-oriented who can think about what to do about that. But what I want to make clear is how things are. How they should change is a different story. I sometimes write those stories, too, but it doesn’t have to be in every story.

The world of health is so large. People are going to get sick, and get healthy, and people are going to die, and there are going to be new drugs. So many things are going to be happening that are not directly touched by national politics. We still have to report on those.

The Atlantic



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