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Mastering the Effective Cover Letter for Journal Submission: A Comprehensive Guide

Home » Blog » Mastering the Effective Cover Letter for Journal Submission: A Comprehensive Guide

Understanding the Importance of an Effective Cover Letter

When it comes to submitting your scientific manuscript to a journal, think of your cover letter as your first handshake with the editor. It’s not just a courtesy; it’s an integral part of the submission process. An effective cover letter is your chance to make a strong first impression, to say, “Hey, I’ve got something valuable and exciting to share with your readers.” But it’s more than just a greeting; it’s a strategic tool to advocate for your manuscript.

A well-crafted and effective cover letter does several things. First, it introduces your work to the editor and provides a succinct overview of your study and its significance. It’s your opportunity to explain why your research fits perfectly within the scope of their journal, potentially solving a puzzle or advancing the field in a way that their readership will find compelling.

Moreover, this cover letter sets the stage for your manuscript, highlighting its strengths without overselling them. It addresses any potential concerns an editor might have, such as the study’s uniqueness or ethical considerations, head-on. By doing so, you’re not only showing transparency but also building trust with the journal’s editorial team.

But let’s not forget, the cover letter also serves as a platform to showcase your professionalism and attention to detail. A well-written, error-free letter reflects your commitment to quality, suggesting that the same level of care has been applied to your research and manuscript.

In essence, the cover letter for your journal submission is your advocate, concierge, and first ambassador all rolled into one. It champions your manuscript, ensuring it gets the consideration and review it deserves. So, mastering the effective cover letter is not just about following a format—it’s about understanding its role in your publication journey and leveraging it to set your research apart.

The Anatomy of an Effective Cover Letter

Crafting an effective cover letter for your journal submission is akin to mapping out a well-planned journey for your manuscript. It requires a clear structure, compelling content, and a strategic approach to guide the editor through your submission. Here’s what every winning cover letter should include:

Introduction

Start with the basics: Mention the title of your manuscript and the journal you’re submitting to. Introduce your study briefly, emphasizing its relevance and why you believe it’s a good fit for the journal.

Statement of Significance

This is where you shine a spotlight on the importance of your research. What gap does it fill? How does it advance the field? Make it clear why your work matters and should be read by the journal’s audience.

Alignment with Journal’s Scope

Demonstrate your familiarity with the journal by explaining how your manuscript aligns with its aims and scope. This shows respect for the editor’s work and positions your study as a valuable addition to their publication.

Key Findings and Contributions

Highlight the main findings of your research and its theoretical or practical contributions to the field. Be succinct but persuasive, providing just enough detail to intrigue the editor and underscore the novelty and relevance of your work.

Addressing Potential Concerns

If there are unique circumstances or potential concerns with your submission (e.g., closely related publications, multi-part studies), address them upfront. Honesty and transparency can preempt misunderstandings and demonstrate your integrity as a researcher.

Wrap up your cover letter by reiterating your enthusiasm for the opportunity to publish in the journal and thanking the editor for considering your work. A courteous and professional closing leaves a positive, lasting impression.

Contact Information

Don’t forget to include your contact information, making it easy for the journal’s editorial team to reach you with questions or updates regarding your submission.

Remember, the goal of your effective cover letter is not to regurgitate the details of your manuscript but to complement it by highlighting its significance, novelty, and fit for the journal. Think of it as the opening argument in your case for publication, laying a solid foundation for the detailed evidence presented in your manuscript.

Personalizing Your Introduction: Making a Strong First Impression

The opening lines of your effective cover letter for journal submission are where you set the tone and engage the editor. It’s more than just stating the title of your manuscript and your intent to submit; it’s about making a connection. Here’s how to personalize your introduction effectively:

• Start with Why : Begin by briefly explaining why you chose this specific journal for your manuscript. Is it the journal’s reputation in your field, the match with the journal’s thematic focus, or the impact it has on its readership? This not only shows that you’ve done your homework but also that you value the journal’s contribution to your research area.
• Mention Previous Interactions : If you’ve had previous communications with the journal or its editors, or if you’re responding to an invitation to submit, mention this early on. It provides context and a touchpoint for the editor.
• Express Genuine Interest : Convey your genuine interest in the journal and enthusiasm about the potential of your research to contribute to the field. This enthusiasm can be contagious and prompt the editor to view your submission with keen interest.
• Tailor Your Language : The tone and language should be professional yet accessible. Avoid overly technical jargon in the introduction; save that for the manuscript itself. The goal here is to communicate clearly and effectively, making a strong case for your research.

Making a strong first impression with your introduction is crucial. It’s your chance to engage the editor from the get-go, setting the stage for the rest of your cover letter and, ultimately, your manuscript. By personalizing your introduction, you not only demonstrate respect for the journal and its editorial team but also start building a rapport that can positively influence the submission process.

Outlining the Significance of Your Research

In the heart of your cover letter lies the core of your manuscript: the significance of your research. This section is your opportunity to articulate the value and impact of your work. Here’s how you can effectively convey the importance of your study:

Highlight the Gap Your Research Fills

Begin by setting the scene. What is the current state of research in your field, and where does your work fit in? Identify the gap or challenge your study addresses, and explain how your research moves the needle. This demonstrates not only the relevance of your work but also its potential to make a meaningful contribution.

Emphasize the Novelty and Contributions

What makes your research stand out? Here, you can highlight the innovative aspects of your study, whether it’s a new methodology, findings that challenge existing theories, or the application of research in a novel context. Be clear about how your work advances knowledge in your field and the specific contributions it makes.

Discuss the Broader Impact

Beyond the academic sphere, what are the practical implications of your research? Whether it’s influencing policy, contributing to technological advancements, or addressing societal challenges, showcasing the broader impact of your work can significantly enhance its appeal to the journal.

Make It Relatable

Use language that conveys the excitement and significance of your research without delving into technical jargon. The goal is to make the editor understand and appreciate the value of your work, even if they’re not a specialist in your specific field.

Outlining the significance of your research is about painting a picture of a landscape enhanced by your study. It’s about showing where your research fits in the broader context and how it contributes to advancing knowledge and practice in your field. By doing so, you’re not just submitting a manuscript; you’re offering a new lens through which to view and understand an aspect of your discipline.

How to Align Your Study with the Journal’s Scope

Ensuring your manuscript aligns with the journal’s scope is pivotal for its acceptance. This alignment signals to the editors and reviewers that your research is not only relevant but also contributes meaningfully to the journal’s mission. Here’s how to articulate this alignment in your cover letter:

Research the Journal’s Aims and Scope

Before you even pen that cover letter, dive deep into the journal’s website. Understand its aims, scope, and the audience it serves. This isn’t just about ensuring your research fits; it’s about tailoring your message to resonate with the journal’s editorial priorities.

Draw Clear Connections

Explicitly state how your research fits within the scope of the journal. This could mean highlighting the specific aspect of your study that addresses a gap the journal is keen on filling, or how your findings contribute to a particular theme or debate featured in the journal. Make these connections as clear as possible.

Use the Journal’s Language

Incorporate keywords and phrases from the journal’s aims and scope into your cover letter. This does not mean keyword stuffing, but rather naturally integrating terms that resonate with the journal’s focus. This linguistic alignment can subtly signal that your research is a good fit.

Highlight Relevance to the Journal’s Readership

Explain why your research matters to the journal’s readers. What will they learn or gain from your study? How does it advance the conversation in the field? This shows you understand the journal’s audience and have considered how your work adds value to their professional or academic pursuits.

Reference Relevant Articles from the Journal

If applicable, mention any articles previously published in the journal that relate to your work. This can demonstrate your engagement with the journal’s content and how your research builds upon or diverges from these discussions.

Aligning your study with the journal’s scope is not just a bureaucratic step; it’s a strategic move that shows respect for the journal’s mission and an understanding of its place in the academic community. By clearly articulating this alignment in your cover letter, you significantly increase the chances of your manuscript being viewed favorably by the editorial team.

Highlighting Your Manuscript’s Key Findings

Your cover letter should succinctly highlight the key findings of your research, showcasing the core achievements and their implications. This section is where you get to brag a bit about what your study has uncovered. Here’s how to do it effectively:

Summarize the Main Results

Begin by summarizing your main results in a few sentences. Focus on the outcomes that are most relevant and impactful to your field. Avoid getting bogged down in the details; instead, aim for clarity and brevity, giving the editor a clear snapshot of your findings.

Explain the Implications

After presenting your results, delve into their implications. How do they advance the field? Do they challenge existing theories or practices? Make sure to articulate the significance of your findings in a way that resonates with the broader academic community and aligns with the journal’s focus.

Emphasize the Novelty

If your research introduces new methods, concepts, or insights, highlight these as key findings. Emphasizing the novelty of your work can help differentiate it from other submissions and pique the editor’s interest.

Use Accessible Language

While it’s important to be precise, also ensure your description is accessible to those who might not be specialists in your specific area of research. Avoid jargon and technical terms when possible, or briefly explain them if they’re necessary to convey your findings.

Highlighting your manuscript’s key findings in the effective cover letter is crucial. It gives the editor a compelling reason to consider your manuscript for publication. By effectively summarizing and emphasizing the importance of your results, you can make a strong case for why your research deserves attention.

Addressing Potential Reviewer Concerns Upfront

Preemptively addressing potential concerns in your effective cover letter can significantly influence the editorial process in your favor. It demonstrates foresight, thoroughness, and a commitment to transparency. Here’s how to approach this effectively:

Anticipate Reviewer Questions

Think about the potential weaknesses or questions reviewers might have about your study. These could relate to your methodology, the robustness of your data, or the generalizability of your findings. By anticipating these concerns, you can address them before they even arise.

Provide Context for Controversial Choices

If your research involved unconventional methodologies or controversial choices, provide a brief explanation in your cover letter. Explain why you chose this path and how it strengthens your study. This preemptive clarification can mitigate concerns and highlight your innovative approach.

Acknowledge Limitations

No study is without its limitations, and acknowledging these upfront can be a strength. Briefly mention any significant limitations and, if possible, how you’ve mitigated them. This honesty builds trust and demonstrates a rigorous scientific approach.

Discuss the Uniqueness of Your Study

If there’s a chance your manuscript might be seen as too similar to existing research, clarify what sets your work apart. Highlight the novel aspects of your study, whether it’s in your approach, the data you’ve uncovered, or the implications of your findings.

Addressing potential concerns upfront doesn’t mean your manuscript is flawed; rather, it shows that you’re engaged in a thoughtful, critical examination of your work. This approach can not only alleviate potential objections but also position your manuscript as a strong candidate for publication by showcasing your commitment to a rigorous scientific discourse.

The Do’s and Don’ts of Cover Letter Etiquette

Navigating the nuances of cover letter etiquette can make a significant difference in how your submission is received. Here are some key do’s and don’ts to ensure your cover letter reflects the best professional standards:

• Be Concise : Keep your cover letter to a page or less. Editors are busy, so respect their time by getting straight to the point.
• Personalize Your Letter : Address the editor by name if possible. A personalized greeting can add a touch of professionalism and shows you’ve done your homework.
• Proofread : Typos and grammatical errors can undermine the credibility of your submission. A well-proofed letter shows attention to detail.
• Express Enthusiasm : Let your genuine interest in the journal and belief in the significance of your research shine through, without overdoing it.

Don’t:

• Reiterate Your Abstract : The cover letter is not the place to copy-paste your abstract. Instead, use it to highlight the significance and fit of your research.
• Overstate Your Findings : Be honest about the implications of your research. Overselling your findings can backfire if the claims aren’t supported by the data.
• Ignore Submission Guidelines : If the journal has specific requirements for cover letters, follow them meticulously. This shows respect for the journal’s editorial process.
• Use Generic Language : Tailor your cover letter to each journal submission. A generic, one-size-fits-all letter can come off as impersonal and lazy.

Adhering to these do’s and don’ts will not only help you craft a more effective cover letter but also demonstrate your professionalism and respect for the editorial process. Remember, the cover letter is an integral part of your submission package, and getting it right can significantly influence the first impression you make on the journal’s editorial team.

Crafting a Convincing Conclusion for Your Cover Letter

The conclusion of your cover letter is your final opportunity to make an impression on the editor and reinforce the significance of your submission. Here’s how to craft a conclusion that resonates:

Reiterate the Fit and Significance

Briefly restate why your manuscript is a good fit for the journal and its significance to the field. This is your chance to leave the editor with a strong sense of the value of your work and its potential impact.

Express Your Enthusiasm and Commitment

Convey your enthusiasm for the possibility of publishing in the journal. Let the editor know you’re looking forward to the opportunity to contribute to their publication and the broader academic conversation. Additionally, affirm your willingness to revise your manuscript according to the feedback from the review process, demonstrating your commitment to excellence and collaboration.

Thank the Editor

Always end with a note of thanks for considering your submission. Acknowledging the editor’s time and effort shows respect and professionalism.

Provide Contact Information

Make sure the editor knows how to reach you. Include your email address and phone number, even if it’s already provided elsewhere in your submission package.

A well-crafted conclusion can strengthen your cover letter, leaving a lasting positive impression on the editor. It encapsulates the essence of your submission, underscores your professionalism, and sets the stage for a constructive editorial relationship.

Common Pitfalls to Avoid in Your Cover Letter

A well-crafted cover letter can be a key factor in getting your manuscript noticed, but certain missteps can undermine its effectiveness. Here are some common pitfalls to avoid:

Overlooking Journal Guidelines

One of the quickest ways to make a poor impression is to ignore the journal’s submission guidelines. These may include specific requirements for cover letters. Always tailor your cover letter to meet these guidelines precisely.

Being Too Vague or Generic

Generic cover letters that could apply to any journal not only miss the opportunity to highlight the fit between your manuscript and the journal but also suggest a lack of genuine interest. Be specific about why your work is right for this journal.

Neglecting to Highlight Key Findings

Your cover letter should succinctly summarize the main findings and contributions of your study. Failing to do so can leave the editor unclear about the significance of your work.

Failing to Address Potential Concerns

If there are obvious potential concerns with your manuscript (such as a small sample size or the preliminary nature of the results), failing to address these upfront can be a missed opportunity to frame these issues in the best light.

Overselling Your Study

While it’s important to highlight the significance of your work, avoid overselling your findings or their implications. This can raise red flags for editors and reviewers.

Poor Formatting and Typos

A cover letter riddled with typos, grammatical errors, or formatting issues can undermine your manuscript’s credibility from the outset. Proofread carefully and consider having a colleague review it as well.

Ignoring the Cover Letter’s Tone

The tone of your effective cover letter should be professional yet accessible. Avoid overly technical language that might obscure the significance of your work to the journal editor.

By steering clear of these pitfalls, you can enhance the effectiveness of your cover letter, making a strong case for the publication of your manuscript.

Expert Tips for a Revision-Proof Cover Letter

Creating a cover letter that withstands the scrutiny of journal editors and reviewers requires insight and finesse. Here are expert tips to fortify your cover letter against potential revisions:

Tailor Your Message

Customize your effective cover letter for each journal submission. Demonstrate your understanding of the journal’s audience, scope, and priorities. This personal touch can significantly increase your manuscript’s chances of being considered.

Be Clear and Concise

Clarity and conciseness are your allies. Avoid unnecessary jargon and lengthy explanations. Your goal is to communicate the essence and significance of your research succinctly.

Use a Positive Tone

Maintain a positive and confident tone throughout your cover letter. Focus on the strengths and contributions of your research, while being honest about its limitations.

Highlight the Novelty

Make sure to clearly articulate what is new and important about your research. This can be a key factor in catching the editor’s interest.

Address Ethical Considerations

If your research involves sensitive subjects or potential ethical concerns, briefly outline how these were addressed. Demonstrating ethical rigor can preempt questions and concerns.

Be Proactive About Potential Concerns

If there are aspects of your study that might raise questions (such as preliminary findings or a small sample size), address these proactively. Explain why these do not detract from the validity and relevance of your research.

Offer to Provide Additional Information

Indicate your willingness to provide further details or clarification if needed. This shows your commitment to engaging with the review process constructively.

Express Willingness to Review and Revise

Convey your openness to reviewing and revising your manuscript based on the journal’s feedback. This flexibility can be favorable in the editorial decision-making process.

Crafting a cover letter with these expert tips in mind can set your submission apart, demonstrating not only the value of your research but also your professionalism as a researcher.

Final Checklist Before Submission: Ensuring Your Cover Letter is Submission-Ready

Before hitting the “submit” button, run through this final checklist to make sure your cover letter is polished and poised for success:

1. Personalization : Have you addressed the editor by name, if possible? Personal touches can make a difference.

2. clarity and brevity : is your cover letter concise, clear, and to the point ensure it’s no longer than one page., 3. key findings highlighted : have you clearly highlighted the key findings and significance of your research make sure these stand out., 4. journal fit : have you articulated why your manuscript is a good fit for the journal’s scope and audience this alignment is crucial., 5. novelty and contribution : does your cover letter emphasize the novelty and contributions of your study make sure the unique aspects of your work are front and center., 6. anticipation of concerns : have you addressed any potential concerns or questions about your manuscript preemptive explanations can ease the review process., 7. ethical considerations : if applicable, have you outlined how ethical concerns were addressed in your study, 8. revision willingness : have you expressed your willingness to review and revise based on feedback this shows a collaborative spirit., 9. proofreading : is your cover letter free from typos and grammatical errors a well-proofed letter reflects your professionalism., 10. contact information : have you included your contact information, making it easy for the editor to reach you.

This checklist ensures that your cover letter not only presents your manuscript in the best possible light but also demonstrates your professionalism and readiness for the publication process.

With your cover letter refined and ready, you’re set to make a strong submission. Remember, the cover letter is your first impression on the journal’s editorial team—make it count!

Summary: Why San Francisco Edit Is Your Best Option for Mastering the Cover Letter for Journal Submission

When it comes to scientific manuscript editing and preparing for journal submission, the importance of a polished, professional cover letter cannot be overstated. It’s the first impression you make on the journal’s editorial team, a succinct pitch that highlights the significance and fit of your research. That’s where San Francisco Edit steps in, offering unparalleled expertise in crafting cover letters that open doors.

Our team understands the nuances of academic publishing across science, academia, research, and publishing sectors. We’re adept at articulating the importance of your work, aligning it with the journal’s scope, and presenting it in a way that’s both compelling and concise. Our editors are not just language experts; they have a deep understanding of the scientific process and what journal editors are looking for.

Choosing San Francisco Edit means entrusting your cover letter to specialists who can significantly increase the likelihood of your manuscript being accepted. We provide personalized advice, ensuring your letter is tailored to each specific journal, highlighting your research’s novelty and its potential contribution to the field. Our service is designed to navigate the complexities of journal submission, making the process smoother and more successful.

With San Francisco Edit, you’re not just getting an editing service; you’re gaining a partner in your publication journey. Our commitment to excellence and our detailed understanding of the academic landscape make us the best option for researchers seeking to make an impact with their work.

Contact us today to ensure your cover letter—and your manuscript—stands out in the crowded world of academic publishing.

FAQ’s

What makes a cover letter for journal submission stand out.

A standout cover letter is concise, personalized, clearly articulates the manuscript’s significance and novelty, and demonstrates a good fit with the journal’s scope.

How long should my cover letter be?

Your cover letter should be no longer than one page, succinctly covering all the key points without overloading the editor with unnecessary details.

Can a good cover letter really make a difference in getting published?

Absolutely. A well-crafted cover letter can catch an editor’s attention, making them more inclined to consider your manuscript favorably.

Should I mention potential concerns in my cover letter?

Yes, addressing potential concerns upfront can demonstrate your thoroughness and mitigate any reservations the editor might have.

How does San Francisco Edit tailor cover letters to different journals?

San Francisco Edit thoroughly researches each journal’s aims and scope, tailoring your cover letter to highlight how your manuscript aligns with the journal’s interests and contributes to the field.

Is it worth investing in professional editing for my cover letter?

Investing in professional editing for your cover letter can significantly enhance your manuscript’s chance of acceptance, making it a wise decision for serious researchers.

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Journal Article Publication Letters

What is this handout about.

This handout offers guidance on how to write a cover letter for submitting journal manuscripts for publication.

What is a journal publication letter?

A journal publication letter, also known as a journal article submission cover letter, is a cover letter written to a peer-reviewed journal to advocate for the publication of a manuscript. Not all journals ask for a publication letter. Some see publication letters as optional, but many peer-reviewed academic journals request or require them.

What do journal publication letters typically contain?

The most basic information included in a publication letter is contact information, the name of the author(s), the title of the manuscript, and either the assurance that the manuscript being submitted has not been submitted elsewhere or a statement regarding any places the manuscript may be available. Some journals may also expect you to briefly explain your argument, outline your methodology or theoretical commitments, discus permissions and funding, and explain how your manuscript fits into the overall aims of the journal. Journals may even request the names of two or three suggested reviewers for your manuscript. A journal may require all, none, or some of this additional information. The above list is not exhaustive, but it highlights the importance of knowing the journal’s conventions and expectations.

How should I prepare to write?

Just as with any other writing project, writing publication letters involves a process. Although you may finish in as little as a few hours or a day, you might take longer if you compose multiple drafts. This section is designed to help you think through the various steps of the writing process.

Previously, we mentioned the importance of knowing the journal’s standards, but you may not find those expectations laid out clearly on the journal’s website. In fact, most journals assume that the scholars who submit a letter are well-versed in the journal’s mission. Below are some strategies for helping you determine the expectations for journal article publication letters.

Consider the standards in your field:

• See if your field’s top journals require a letter.
• Ask your advisor or mentor about their standard practices.
• Ask someone who has published recently in your field’s top journals whether a letter is standard or not.
• If submitting a letter is standard practice, ask others in your field for examples of their publication letters to see what information is typically included.

Research the specific journal:

• If you aren’t already very familiar with the journal, read a handful of recent articles to get a sense of the type and content of manuscripts the journal publishes.
• Explore the journal’s website to see what you can learn about the journal in general.
• Read the journal’s mission statement.
• Read carefully any information the journal provides for potential authors.
• If you still have questions, consider contacting one of the journal’s editors.

After completing your research, you should have a good sense of the journal’s audience and the sort of articles that appear in the journal.

Once you know the expectations for publication letters in your field and in a specific journal, revisit the reasons your manuscript is a good fit for the journal. Remember the journal has no obligation to publish your manuscript. Instead, you advocate for your scholarship and communicate why your manuscript is a good fit. Below are some questions to consider.

Consider how your manuscript fits into the publication:

• How does it use a specific methodology or framework important to the journal?
• How does it focus on themes that have been popular in recent issues?
• How does it advance a new perspective on topics typically seen in the journal?
• Does it fit with any proposed themed issues?

Consider the audience for your manuscript:

• How does your subject or your approach to it intersect with the interests of the journal’s readers?
• How does your manuscript appeal to readers outside your subfield?
• Could your manuscript reach a broader audience that could expand the journal’s readership? If so, how?

Consider how your manuscript engages with the field at large:

• How is it advancing new perspectives, approaches, or topics?
• How is it critiquing previous or current scholarship?
• How is it anticipating new directions in the field?
• How is it using a common approach in a new way?

All these questions encourage you to consider how your manuscript contributes to the field in a way that is valuable enough for a journal to publish it. Make no mistake, the cover letter is an argument for why your manuscript should be published.

Writing a draft

This section addresses two aspects of composing a cover letter draft. The first aspect is the form, and the second is the content. Think about both of these aspects when composing your draft.

Consider the form

The structure of a document can be defined as the different sections of the document and the order in which they appear. There should be an addressee and addresser, as well as the proper contact information. If possible, it should be on departmental letterhead. The letter may be as short as three sentences or as long as multiple paragraphs. But unless the writer is a senior scholar, even a longer letter should be no more than one page. Some standard features you might consider:

Addressee. If you choose or are required to write a cover letter, follow the standard format for letters in the country in which the publication is based.

• It is usually addressed to the editor unless otherwise specified.
• If you cannot find the name of the editor, it is permissible to address it to the Editor-in-Chief or Managing Editor.
• The address should be the journal’s, not the editor’s personal address or institutional address.

Font. While this category may seem trivial, font choice communicates a lot to readers.

• The goal for a letter is readability, so avoid fonts and styles that are difficult to read.
• Standard fonts include Arial or Times New Roman, usually in size 12.

Paragraphs. Again, the formatting of paragraphs aids in the readability of a letter, and an unusual paragraph format may appear unprofessional to some readers.

• Make sure that paragraphs are not indented.
• Single-space the text and justify it to the left.
• Separate paragraphs with one line of space.

Closing. Letter closings solidify your presentation as a professional. Maintain the same formality as the rest of the letter.

• Close with “sincerely,” “best regards,” or something comparably formal.
• Type your name and provide your signature.
• Include your contact information near the end.
• For a dual-authored manuscript, include the contact information for both authors.
• If the manuscript was composed by more than two authors, include only one additional author’s contact information with yours.

Consider the content

Remember that a cover letter, especially a longer one, is essentially a professional pitch for your manuscript. You ultimately need to communicate why your manuscript would be a good fit for a particular journal. Journals asking for longer cover letters want to know whether you are familiar with their audience and the journal’s mission statement. Below are some elements that you should consider when composing your letter:

Summarize the major arguments/findings of the manuscript. Make sure that you clearly explain what you discovered from your research. Connect these findings to the journal’s aims and scope. Some questions you might consider:

• Did you make new connections?
• Did you confirm previous findings?
• Did you discover new implications?

Discuss your methodology. Clarify the type of methods you used in your research. Ask yourself:

• Did you undertake a case study? A longitudinal study? A cross-sectional study?
• Is the study qualitative, quantitative, or mixed methods?
• Did you use or adapt a specific model or framework?
• Did you approach the topic using a new theoretical lens?
• Did you integrate multiple theories or theoretical frameworks?
• Did you apply a theory or method not frequently used in your subfield?
• Did you approach a theory or method in a new way?

Consider the aim of the journal. Every journal has a purpose, and most journals have a statement about the type of scholarship they feature. You might ask:

• What is the aim and scope of the journal?
• How does it present itself to the field?
• How does your manuscript fit with recent publications in the journal?

Consider the readership. Here are some questions you can ask:

• Who is the audience for the journal, and how will your manuscript appeal to them?
• Which institutions subscribe to this journal?
• How does your manuscript appeal to readers outside your subdiscipline?
• How does your manuscript appeal to people outside your discipline?
• How does it appeal to non-academic readers or professionals?

Consider the journal’s future trajectory. Research journals strive to remain relevant. In order to do so, journals often change to reflect trends in the field. Ask yourself:

• Are they attempting to expand their readership?
• Are they trying to integrate interdisciplinary approaches?
• Are they incorporating more theoretical questions or newer methodologies?
• Are they willing to critique the field?
• Would your manuscript work as a part of a special issue?

Provide context for the research . If you are writing a longer letter, explain how your research fits in both with the research in your field at large and in your subfield. Ask yourself:

• How does your work contribute to your field?
• How does it engage with current scholarship in your field or subfield?
• Does your scholarship address an oversight in the field? If so, how?
• Do you innovate in terms of the subject(s); the methodology; or the integration of fields?
• Do you address a gap in current research?

Additional considerations . Check to determine whether the journal requires any additional information. Some common expectations include:

• Comment on the type of article submitted (e.g., research article, review, case report)
• Assurances that all authors agree with the content of the manuscript
• Assurance that the corresponding author will take responsibility for informing co-authors of editorial decisions, reviews received, and any changes or revisions made
• Information about any closely related manuscripts that have been submitted for simultaneous consideration to the same or another journal
• Statements about conflicts of interest or activities that might be seen as influencing the research
• Statements regarding ethical practice
• A copy of permissions to reproduce copyrighted material or a notice that permissions are pending (if applicable)
• Names of specific reviewers from the journal who may be a good fit to read your manuscript

Possible pitfalls

Below are several other elements to keep in mind as you write your publication letter:

• Avoid using too much jargon or too many acronyms.
• Avoid over-embellishing your findings or exaggerating their significance.
• Avoid name dropping.
• Keep it simple and straightforward. Do not write a novel.
• Keep it professional. Avoid humor.
• Don’t copy text word-for-word from your manuscript.

Two templates

Below are two cover letter templates to help you visualize how form and content combine to make a strong publication letter. The templates offer guidelines for each section, but they can be modified based on the standards of your field. Use them to help you think through the elements that are most important to include in your letter.

Remember, your first draft does not have to be your last. Make sure to get feedback from different readers, especially if this is one of your first publications. It is not uncommon to go through several stages of revisions. Check out the Writing Center’s handout on editing and proofreading and video on proofreading to help with this last stage of writing.

Works consulted

We consulted these works while writing this handout. This is not a comprehensive list of resources on the handout’s topic, and we encourage you to do your own research to find additional publications. Please do not use this list as a model for the format of your own reference list, as it may not match the citation style you are using. For guidance on formatting citations, please see the UNC Libraries citation tutorial . We revise these tips periodically and welcome feedback.

American Psychological Association. n.d. “Cover Letter.” APA Style. Accessed April 2019. https://apastyle.apa.org/style-grammar-guidelines/research-publication/cover-letters.

Belcher, Wendy Laura. 2009. Writing Your Journal Article in Twelve Weeks: A Guide to Academic Publishing Success . Thousand Oaks, CA: Sage Press.

BioScience Writers (website). 2012. “Writing Cover Letters for Scientific Manuscripts.” September 29, 2012. https://biosciencewriters.com/Writing-Cover-Letters-for-Scientific-Manuscripts.aspx .

Jones, Caryn. n.d. “Writing Effective Cover Letters for Journal Submissions: Tips and a Word Template.” Think Science. Accessed August 2019. https://thinkscience.co.jp/en/articles/writing-journal-cover-letters.html .

Kelsky, Karen. 2013. “How To Write a Journal Article Submission Cover Letter.” The Professor Is In (blog), April 26, 2013. https://theprofessorisin.com/2013/04/26/how-to-write-a-journal-article-submission-cover-letter/ .

Kelsky, Karen. 2013. “Of Cover Letters and Magic (A Follow-up Post).” The Professor Is In (blog), April 29, 2013. http://theprofessorisin.com/2013/04/29/of-cover-letters-and-magic-a-followup-post/ .

Mudrak, Ben. n.d. “Writing a Cover Letter.” AJE . https://www.aje.com/dist/docs/Writing-a-cover-letter-AJE-2015.pdf .

Wordvice. n.d. “How to Write the Best Journal Submission Cover Letter.” Accessed January 2019. https://wordvice.com/journal-submission-cover-letter/ .

You may reproduce it for non-commercial use if you use the entire handout and attribute the source: The Writing Center, University of North Carolina at Chapel Hill

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How to write a cover letter for manuscript submission

Table of Contents

Dr. Arianna Ferrini , freelance scientific writer on Kolabtree, shares her top tips on writing a cover letter for manuscript submission.

When you submit a manuscript to a journal, you often must include a cover letter. The cover letter is a formal way to communicate with the editor of your chosen journal and is an excellent opportunity to highlight what makes your research new and publication-worthy. The objective of a manuscript cover letter is to compel the publication’s chief editor to accept the manuscript based on the understanding that the manuscript offers a solution to solve an unmet need in the specific field.

Why you need a cover letter for manuscript submission

• To compel : Like writing a professional cover letter when applying for a job, a manuscript cover letter should be written persuasively to help point out all the noteworthy qualities of the manuscript. A well-written cover letter can help your paper reach the next stage following the submission, which is the peer-review stage.
• To state importance : Specify what impact and contribution the manuscript can bring to the specific field. An effective method to do so is to emphasize the unmet need and show how the manuscript has resolved that unmet need.
• To influence : The language of the cover letter should be written in a way that makes the publication feel special that they have been chosen to publish the manuscript.

What you should include in your cover letter

A manuscript cover letter should follow a clear structure to make sure the audience can read the content easily. Given its importance, it is worth spending some time writing a coherent and persuasive letter. It should include the following sections:

• Opening remarks . Here you should include the date and then address the Editor-in-Chief by their title.
• Inquiry request . Here you state the request, including the full title of the manuscript and at least the name of the first author (for example, something like “On behalf of my co-authors, I am submitting the original manuscript entitled [ title of the manuscript ] by [ first author et al. ] for consideration for publication in [ name of the Journal ]).Specify the type of paper you are submitting (e.g., review, research, case study, etc.). Remember that cover letters are separate files from your manuscript, so they should always include essential details like title and authors’ names. Here you should also add a reference to a past inquiry letter (if sent).
• Background . This should be a high-level background of your topicto introduce why research in this area is important. For example, in the case of a biomedical research paper linked to a disease, you could state the number of people affected, the high health care cost, and the need for treatments.
• Unmet need . Describe the unmet need (again, for biomedical research, this would be the unmet clinical need) and explain why more publications are needed.
• Summary of the manuscript . This section should include a summary of the manuscript, clearly highlighting the key findings. Here you should also indicate why the reader of the journal would be interested in the work.
• Author’s agreement . This section is important and should include something like“All authors have read, edited and contributed to the content of this manuscript. This work has not been previously published and is not being considered for publication elsewhere.”
• Ending regards . Thank the Editor-in-Chief for their consideration and wrap the letter up. Although any author can correspond with the journal’s editorial staff, cover letters are usually written and signed by the corresponding author of the paper.

Mistakes to avoid

Providing a cover letter to accompany your manuscript submission can be extremely useful for you and for the journal editor. However, to ensure the editor give serious consideration to your publication, there are some mistakes to avoid.

• Poor formatting, structure and grammar . This is the most important thing. Think about your letter as your manuscript’s (and yours) business card: you want to make a good impression. Before sending a cover letter to the journal of your choice, make sure it does not contain grammar, spelling, and punctuation errors. Additionally, it should be laid out in a nice and readable format and easy to follow. Avoid using too much jargon or acronyms and keep the language straightforward.
• Overselling your work . While it is important to highlight the innovative nature of your research, it is equally important not to overvalue your work and sound arrogant.
• Not adhering to the journal’s guidelines . Every journal has its own guidelines when it comes to manuscript preparation, and the same is true for the cover letter. Before you start to write, check your chosen journal’s guidelines carefully and make sure you adhere to what is requested. For example, some journals want the author to suggest potential reviewers or to include a shortlist of similar papers previously published by the journal. Some journals require that you include specific statements and disclosure (e.g., compliance with ethical standards, conflicts of interest, agreement to terms of submission, copyright sign-over, etc.). If you don’t follow their rule, it is not a first good impression.
• Copying your abstract into the cover letter . They are two different things with two different objectives. The aim of the cover letter is to state the significance of the work and why it belongs to that specific journal.
• Making it too “vague” . Remember, the editor will always have their readership in mind; therefore, you should not be vague and use a “copy-paste” cover letter. Instead, you should tailor it to the specific journal you are targeting and highlight why your work fits within the journal’s scope. You can usually find the scope of the journal on their website.
• Claiming you are the first one showing something while in reality it has already been shown . This mistake is more common than you might think, and it will annoy the editor and make them question your entire work. Often these mistakes are made unintentionally, so make sure you have checked and double-checked the current literature before sending your manuscript. As every researcher knows, manuscript writing is a long process, and it could well be that you miss some just-off-the-press papers in the several months/years from the beginning of the project to the completion of the manuscript.
• Providing a long biography of yourself and your career. Unless specifically requested, this should not be included in a cover letter.
• Making the cover letter too long . As a general rule, a cover letter should not be longer than a single printed page. You must be selective to make your key points stand out and also not to waste a busy editor’s valuable time.

How to increase chances of your manuscript being accepted 

A great way to increase the chances of your manuscript being accepted is to send a manuscript inquiry letter to gauge interest and receive initial comments from the Editor-in-Chief prior to the actual submission of a manuscript. The objective of sending a manuscript inquiry letter is to influence the target journal to be interested in reviewing/accepting the manuscript. An inquiry letter should have three main sections: introduction and top-line message, a captivating synthesis of the manuscript, and the inquiry followed by a wrap-up.

A manuscript inquiry letter should catch the editor’s attention and communicate that your research is something new and innovative, which has the potential to change the field. Key words include “novel”, “state-of-the-art”, “exciting”, “first”, “first ever”, “never shown before”, “ground-breaking”, “potential paradigm shift”.

You should write the inquiry letter as soon as the target journal is identified, and the author group determines the key messages/data of the manuscript. On the other hand, you should write the cover letter when the manuscript is completed and ready for submission. It is always a good idea to ask an experienced and published colleague to read your manuscript inquiry and cover letter and give you honest feedback about them.

Bottom line

A good cover lette r can help you “sell” your manuscript to the journal editor. Submitting a cover letter to accompany your manuscript gives you the opportunity to explain why your manuscript should be considered and why it would be of interest to the readers of that specific journal. A cover letter should be of the highest quality possible. Before submitting it, perform a checklist to iron out the prose and make sure you have included all the relevant sections and information.

A great manuscript cover letter:

• Compels the audience
• States the manuscript’s importance to the field
• Make the journal feel lucky you came to them

Does yours tick these boxes?

Need help to develop a cover letter for manuscript submission? Hire experienced freelance scientific writers on Kolabtree.

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Ramya Sriram manages digital content and communications at Kolabtree (kolabtree.com), the world's largest freelancing platform for scientists. She has over a decade of experience in publishing, advertising and digital content creation.

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Cover letters

A good cover letter can help to “sell” your manuscript to the journal editor. As well as introducing your work to the editor you can also take this opportunity to explain why the manuscript will be of interest to a journal's readers, something which is always as the forefront editors’ mind. As such it is worth spending time writing a coherent and persuasive cover letter.

The following is an example of a poor cover letter:

Dear Editor-in-Chief, I am sending you our manuscript entitled “Large Scale Analysis of Cell Cycle Regulators in bladder cancer” by Researcher et al. We would like to have the manuscript considered for publication in Pathobiology. Please let me know of your decision at your earliest convenience. With my best regards, Sincerely yours, A Researcher, PhD

Instead, check to see whether the journal’s Instructions for Authors have any cover letter requirements (e.g. disclosures, statements, potential reviewers). Then, write a letter that explains why the editor would want to publish your manuscript. The following structure covers all the necessary points that need to be included.

• If known, address the editor who will be assessing your manuscript by their name. Include the date of submission and the journal you are submitting to.
• First paragraph: include the title of your manuscript and the type of manuscript it is (e.g. review, research, case study). Then briefly explain the background to your study, the question you sought out to answer and why.
• Second paragraph: you should concisely explain what was done, the main findings and why they are significant.
• Third paragraph: here you should indicate why the readers of the journal would be interested in the work. Take your cues from the journal’s aims and scope. For example if the journal requires that all work published has broad implications explain how your study fulfils this. It is also a good idea to include a sentence on the importance of the results to the field.
• To conclude state the corresponding author and any journal specific requirements that need to be complied with (e.g. ethical standards).

TIP: All cover letters should contain these sentences:

• We confirm that this manuscript has not been published elsewhere and is not under consideration by another journal.
• All authors have approved the manuscript and agree with its submission to [insert the name of the target journal].

Submission checklist

Before submitting your manuscript, thoroughly check its quality one more time. Evaluate it critically—could anything be done better?

Be sure that:

• The manuscript follows the Instructions for Authors
• All files are in the correct file format and of the appropriate resolution or size
• The spelling and grammar are correct
• You have contact information for all authors
• You have written a persuasive cover letter

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How to Write a Cover Letter for Journal Submission

If you’re looking for solid advice on how to write a strong journal submission cover letter that will convince journal editors to review your research paper, then look no further! We know that cover letters  can  impact an editor’s decision to consider your research paper further.

This guide aims to explain (1) why you should care about writing a powerful cover letter, (2) what you should include in it, and (3) how you should structure it. The last segment will include a free downloadable submission cover letter template with detailed how-to explanations and some useful phrases. Finally, be sure to get journal manuscript editing , cover letter editing , and other academic editing services by Wordvice’s professional editors to ensure that you convey an academic style and error-free text, along with including all of the most important content.

Why does a good cover letter matter?

While your research paper’s role is to prove the merits of your research, a strong introductory cover letter is your opportunity to highlight the significance of your research and “sell” its concept to journal editors.

While your research paper’s role is to prove the merits of your research, a strong introductory cover letter is your opportunity to highlight the significance of your research and “sell” its concept to journal editors.

Sadly, we must admit that part of the decision-making process of whether to accept a manuscript is based on a business model. Editors must select articles that will interest their readers. In other words, your paper, if published, must make money . When it’s not quite clear how your research paper might generate interest based on its title and content alone (for example, if your paper is too technical for most editors to appreciate), your cover letter is the one opportunity you will get to convince the editors that your work is worth further review.

In addition to economic factors, many editors use the cover letter to screen whether authors can follow basic instructions . For example, if a journal’s guide for authors states that you must include disclosures, potential reviewers, and statements regarding ethical practices, failure to include these items might lead to the automatic rejection of your article, even if your research is the most progressive project on the planet! By failing to follow directions, you raise a red flag that you may be careless, and if you’re not attentive to the details of a cover letter, editors might wonder about the quality and thoroughness of your research. This is not the impression you want to give editors!

What to Include in a Cover Letter for a Journal Submission

We can’t stress this enough: Follow your target journal’s instructions for authors ! No matter what other advice you read in the vast webosphere, make sure you prioritize the information requested by the editors of the journal you are submitting to. As we explained above, failure to include required statements will lead to an automatic “ desk rejection ”.

With that said, below is a list of the most common elements you must include in your cover letter and what information you should NOT include:

Essential information:

• Editor’s name (when known)
• Name of the journal to which you are submitting
• Your manuscript’s title
• Article type (review, research, case study, etc.)
• Submission date
• Brief background of your study and the research question you sought to answer
• Brief overview of methodology used
• Principle findings and significance to scientific community (how your research advances our understanding of a concept)
• Corresponding author contact information
• Statement that your paper has not been previously published and is not currently under consideration by another journal and that all authors have approved of and have agreed to submit the manuscript to this journal

Other commonly requested information:

• Short list of similar articles previously published by the target journal
• List of relevant works by you or your co-authors that have been previously published or are under consideration by other journals. You can include copies of those works.
• Mention of any prior discussions with editor(s) (for example, if you discussed the topic with an editor at a conference)
• Technical specialties required to evaluate your paper
• Potential reviewers and their contact information
• If needed, reviewers to exclude (this information is most likely also requested elsewhere in online submissions forms)

Other disclosures/statements required by the journal (e.g., compliance with ethical standards, conflicts of interest , agreement to terms of submission, copyright sign-over, etc.)

What you should NOT do:

• Don’t use too much jargon or include too many acronyms.
• Don’t over-embellish your findings or their significance. Avoid words such as “novel,” “first ever,” and “paradigm-changing.” These types of statements show bias and will make the editor question your ability to assess your work’s merits objectively.
• Don’t name-drop. Listing people who might endorse your paper and discussing authors’ reputations do not interest editors. They want to know if your content fits their criteria, so focus solely on addressing that point.
• Don’t write a novel. While you want to adequately explain your work and sell its concept to editors, keep your cover letter to a maximum of one page. The letter is only meant to be an introduction and brief overview.
• Avoid humor . As much as we want to grab the editors’ attention, there are too many ways in which humor can go wrong!

How to Structure a Cover Letter

You should use formal language in your cover letter. Since most submissions are delivered electronically, the template below is in a modified e-mail format. However, if you send your cover letter on letterhead (PDF or hard copy by mail), move your contact information to the upper-left corner of the page unless you use pre-printed letterhead, in which case your contact information should be centered at the top of the letter.

ANNOTATED TEMPLATE Journal Submissions Cover Letter

[Journal Editor’s First and Last Name][, Graduate Degree (if any)] TIP: It’s customary to include any graduate degrees in the addressee’s name. e.g.,  John Smith, MD or Carolyn Daniels, MPH [Title] e.g.,  Editor-in-Chief, Managing Editor, Co-Editors-in-Chief [Journal Name] [Journal Address] [Submission Date: Month Day, Year]

Dear Dr./Mr./Ms. [Editor’s last name]:

TIP: Where the editor’s name is not known, use the relevant title employed by the journal, such as “Dear Managing Editor:” or “Dear Editor-in-Chief:”. Using a person’s name is best, however.

TIP: Use “Ms.” and never “Mrs.” or “Miss” in formal business letters.

TIP:  Never   use “Dear Sirs:” or any similar expression. Many editors will find this insulting, especially given that many of them are female!

[Para.1: 2–3 sentences]  I am writing to submit our manuscript entitled, [“Title”] for consideration as a [Journal Name][Article Type]. [One to two sentence “pitch” that summarizes the study design, where applicable, your research question, your major findings, and the conclusion.]

e.g.,  I am writing to submit our manuscript entitled, “X Marks the Spot” for consideration as an  Awesome Science Journal  research article. We examined the efficacy of using X factors as indicators for depression in Y subjects in Z regions through a 12-month prospective cohort study and can confirm that monitoring the levels of X is critical to identifying the onset of depression, regardless of geographical influences.

TIP: Useful phrases to discuss your findings and conclusion include:

• Our findings confirm that…
• We have determined that…
• Our results suggest…
• We found that…
• We illustrate…
• Our findings reveal…
• Our study clarifies…
• Our research corroborates…
• Our results establish…
• Our work substantiates…

[Para. 2: 2–5 sentences]  Given that [context that prompted your research], we believe that the findings presented in our paper will appeal to the [Reader Profile] who subscribe to [Journal Name]. Our findings will allow your readers to [identify the aspects of the journal’s  Aim and Scope  that align with your paper].

TIP: Identify the journal’s typical audience and how those people can utilize your research to expand their understanding of a topic. For example, if many of your target journal’s readers are interested in the public policy implications of various research studies, you may wish to discuss how your conclusions can help your peers to develop stronger policies that more effectively address public concerns.

TIP: Include context about why this research question had to be addressed.

e.g.,  “Given the struggle policymakers have had to define proper criteria to diagnose the onset of depression in teenagers, we felt compelled to identify a cost-effective and universal methodology that local school administrators can use to screen students.”

TIP: If your paper was prompted by prior research, state this. For example, “After initially researching X, Y approached us to conduct a follow-up study that examined Z. While pursuing this project, we discovered [some new understanding that made you decide the information needed to be shared with your peers via publication.]”

e.g.,  Given the alarming increase in depression rates among teenagers and the lack of any uniform practical tests for screening students, we believe that the findings presented in our paper will appeal to education policymakers who subscribe to  The Journal of Education . Although prior research has identified a few methods that could be used in depression screening, such as X and Y, the applications developed from those findings have been cost-prohibitive and difficult to administer on a national level. Thus, our findings will allow your readers to understand the factors involved in identifying the onset of depression in teenagers better and develop more cost-effective screening procedures that can be employed nationally. In so doing, we hope that our research advances the toolset needed to combat the concerns preoccupying the minds of many school administrators.

[Para 3: Similar works]  “This manuscript expands on the prior research conducted and published by [Authors] in [Journal Name]” or “This paper [examines a different aspect of]/ [takes a different approach to] the issues explored in the following papers also published by [Journal Name].”

TIP: You should mention similar studies recently published by your target journal, if any, but list no more than five. If you only want to mention one article, replace the preceding sentence with “This paper [examines a different aspect of]/ [takes a different approach to] the issues explored by [Authors] in [Article Title], also published by [Journal Name] on [DATE].”

[Para. 4: Additional statements often required]  Each of the authors confirms that this manuscript has not been previously published and is not currently under consideration by any other journal. Additionally, all of the authors have approved the contents of this paper and have agreed to the [Journal Name]’s submission policies.

TIP: If you have previously publicly shared some form or part of your research elsewhere, state so. For example, you can say, “We have presented a subset of our findings [at Event]/ [as a Type of Publication Medium] in [Location] in [Year].”

e.g.,  We have since expanded the scope of our research to contemplate international feasibility and acquired additional data that has helped us to develop a new understanding of geographical influences.

[Para. 5: Potential Reviewers]  Should you select our manuscript for peer review, we would like to suggest the following potential reviewers/referees because they would have the requisite background to evaluate our findings and interpretation objectively.

• [Name, institution, email, expertise]

To the best of our knowledge, none of the above-suggested persons have any conflict of interest, financial or otherwise.

TIP: Include 3–5 reviewers since it is likely that the journal will use at least one of your suggestions.

TIP: Use whichever term (“reviewer” or “referee”) your target journal uses. Paying close attention to a journal’s terminology is a sign that you have properly researched the journal and have prepared!

[Para. 6: Frequently requested additional information]  Each named author has substantially contributed to conducting the underlying research and drafting this manuscript. Additionally, to the best of our knowledge, the named authors have no conflict of interest, financial or otherwise.

[Your Name]

Corresponding Author Institution Title Institution/Affiliation Name [Institution Address] [Your e-mail address] [Tel: (include relevant country/area code)] [Fax: (include relevant country/area code)]

Additional Contact [should the corresponding author not be available] Institution Title Institution/Affiliation Name [Institution Address] [Your e-mail address] [Tel: (include relevant country/area code)] [Fax: (include relevant country/area code)]

Quick Cover Letter Checklist Before Submission

• Set the font to Arial or Times New Roman, size 12 point.
• Single-space all text.
• Use one line space between body paragraphs.
• Do not indent paragraphs.
• Keep all text left justified.
• Use spelling and grammar check software. If needed, use a proofreading service or cover letter editing service  such as Wordvice to review your letter for clarity and concision.
• Double-check the editor’s name. Call the journal to confirm if necessary.

How to Write an Effective Cover Letter for Journal Submission

Craft your cover letter for journal submission the right way with our expert tips! Learn how to grab editors’ attention and stand it out.

When it comes to submitting a manuscript for publication in a journal, many authors focus solely on the quality of their research and the clarity of their writing. While these are important factors, it’s easy to overlook the role that a well-crafted cover letter can play in the submission process. A cover letter can be the key to getting your manuscript noticed by the editor and ultimately accepted for publication. In this article, we’ll explore the importance of a cover letter for journal submissions and provide tips for crafting an effective one.

What is a Cover Letter for Journal Submission?

A cover letter for journal submission is a document that accompanies a manuscript when it is submitted for publication in an academic or scientific journal. The purpose of the cover letter is to introduce the author and their work to the editor of the journal and to provide any additional information that may be relevant to the manuscript or the submission process. Furthermore, its purpose is to introduce the manuscript to the editor and provide additional information about the research and its significance. The cover letter should be concise and focused, typically no more than one page.

What Should be Included in the Cover Letter?

A cover letter should include several key elements to effectively introduce your manuscript. It’s important to personalize the letter for the specific journal, use a professional tone, and proofread carefully for errors. To make sure your cover letter is effective, there are several key elements that you should include:

Addressee’s Information and Date of Submission

Your cover letter should start with the date of submission, followed by the name and address of the editor or editorial staff who will be reviewing your manuscript. This information should be current and accurate to ensure your submission is directed to the right person.

Opening Salutation

The opening salutation of your cover letter should be professional and courteous, addressing the editor or editorial staff by name, starting with “Dear…”. Don´t forget to include the title and position of the editor you are addressing.

Purpose Statement and Administrative Information

Your cover letter should have a clear statement of the purpose of your research and the journal to which you are submitting your manuscript. You should also include any administrative information required by the journal, such as the type of manuscript (e.g. original research, review article, case report) and the number of words or pages.

Summary of Main Research Findings and Implications

One of the most important elements of your cover letter is a summary of the main findings and implications of your research. This summary should be concise and focused, highlighting the most important aspects of your research and why it is significant to the field.

Statements or Information Required by the Journal

Many journals require specific statements or information to be included in the cover letter. This may include a statement that the manuscript has not been previously published or is not under consideration for publication elsewhere, or a list of potential conflicts of interest or funding sources that may have influenced the research.

Previous Contact with the Journal

If you have had previous contact with the journal, such as submitting a previous manuscript or attending a conference sponsored by the journal, it is important to mention this in your cover letter. This information can help establish a connection between you and the editor, which may increase the chances of your manuscript being accepted.

Conflict of Interests and Financial Disclosures

It is important to disclose any potential conflicts of interest or financial disclosures that may have influenced the research. This information can help ensure transparency and maintain the integrity of the research.

Your cover letter should include a statement indicating that all authors have read and approved the manuscript and that the work is original and not plagiarized. This information can help establish the credibility of the research and the integrity of the authorship.

Suggested Reviewers

Suggested Reviewers are generally considered a best practice and are often recommended by journals. Providing a list of suggested reviewers can help to ensure that the manuscript is reviewed by individuals who have the appropriate expertise and background to evaluate the work, and can help to speed up the review process by reducing the time needed for the editor to identify potential reviewers. This can help expedite the review process and increase the likelihood of your manuscript being accepted.

Concurrent/Duplicate Submissions

An important consideration when submitting a manuscript for publication is concurrent or duplicate submissions. Concurrent submissions occur when a manuscript is submitted to more than one journal at the same time. Duplicate submissions occur when a manuscript is submitted to the same journal more than once.

In the cover letter, you should clearly state whether the manuscript has been submitted elsewhere or whether it has been previously published. If the manuscript is under consideration elsewhere, you should provide the name of the journal and the date of submission. If the manuscript has been previously published, you should provide the citation for the publication.

Closing Salutation

When closing a cover letter for journal submission, it’s important to maintain a professional and courteous tone. A common closing salutation is “Sincerely,” followed by your name. However, some alternatives that are also appropriate include “Best regards,” “Thank you for your time and consideration,” or “Respectfully.” Whichever salutation you choose, make sure it matches the tone of your letter and conveys your appreciation for the editor’s consideration.

Request to Exclude Reviewers

A request to exclude reviewers is a common feature of a cover letter for journal submission, particularly in cases where the author has concerns about potential conflicts of interest or bias that could affect the review process.

When making a request to exclude reviewers, the author should provide a clear and concise explanation of the reasons for the request and should provide specific details about any potential conflicts of interest or concerns that they may have. It is also important to note that some journals may have specific guidelines or policies regarding requests to exclude reviewers, and authors should familiarize themselves with these guidelines before making a request.

In general, it is recommended that authors provide a minimum of three to five potential reviewers who are not affiliated with the author or their institution, in order to provide a broad range of expertise and perspectives. When making a request to exclude reviewers, it is also important to provide alternative suggestions for potential reviewers who could be considered in their place.

Tips for Writing a Journal Submission Cover Letter

A well-crafted cover letter can help your manuscript stand out and increase your chances of being accepted for publication. Here are some tips for writing an effective journal submission cover letter.

One of the most important tips for writing a journal submission cover letter is to proofread it carefully. Typos, spelling errors, and grammatical mistakes can detract from the professional image you want to project. Make sure to read the letter multiple times and have someone else read it over as well to catch any errors you may have missed.

Keep the Cover Letter Brief

Another important tip is to keep the cover letter brief and to the point. The cover letter should provide a brief introduction of the manuscript and the key findings, as well as any other information that is necessary for the editor to understand the importance and relevance of the manuscript. The letter should be no more than one page in length.

Review Examples of Cover Letters

It can be helpful to review examples of cover letters for journal submissions to get an idea of the style, tone, and content that is appropriate. You can search for examples online or ask colleagues who have submitted manuscripts for publication for their advice. When reviewing examples, pay attention to the language used, the level of detail provided, and the overall organization and structure of the letter. This can help you craft a cover letter that is professional, informative, and effective.

Cover Letter Template for a Journal Article Submission

A cover letter is an important component of manuscript submission for publication in a journal. Using a template can help ensure that your cover letter includes all the necessary information and follows the proper format. Here is a guide to creating a cover letter template for a journal article submission.

The header should include your contact information, including your name, affiliation, and contact details (address, phone number, and email address), the date of submission, and the name and address of the journal.

Opening Paragraph

The opening paragraph should provide a brief introduction to the manuscript and its key findings. This paragraph should also mention the purpose of the manuscript and why it is relevant to the journal’s readership. You may also want to mention any previous correspondence or contact with the journal.

Body Paragraphs

The body of the cover letter should include several paragraphs that provide more detail about the manuscript. This may include a summary of the methods used, key results and findings, and implications for future research. You may also want to mention any notable limitations or challenges encountered during the research process.

It is also important to address any specific requirements or requests from the journal, such as a particular format for tables or figures, or specific information to be included in the manuscript. You should also mention any funding sources or conflicts of interest that may be relevant.

Closing Paragraph

The closing paragraph should reiterate the significance of the manuscript and its contribution to the field. You may also want to mention any potential reviewers for the manuscript or suggest reviewers who would be appropriate. Finally, you should include a polite and professional closing, such as “Sincerely” or “Best regards”, followed by your name and signature.

Common Expressions for Cover Letters

When writing a cover letter for journal submission, it’s important to use appropriate and professional language. Here are some common expressions that can be used in cover letters:

“We are pleased to submit our manuscript…”

“The research reported in this manuscript addresses a significant gap in the literature…”

“We believe this manuscript will be of interest to your readership because…”

“Our findings have important implications for future research in this field.”

“We would like to thank the reviewers and editors for their time and consideration.”

“We look forward to hearing from you regarding the status of our manuscript.”

“Thank you for your time and consideration.”

These expressions can be used to convey important information in a professional and concise manner. When using these expressions, it’s important to tailor them to the specific journal and to make sure they are appropriate for the content of your cover letter.

Journal Submission Tips and Hacks from the Experts

Submitting a journal article can be a challenging and sometimes frustrating process. However, by following some tips and hacks from the experts, you can increase your chances of success. Here are some tips and hacks to help you submit your article to a journal:

Choose the Right Journal

Before submitting your article, make sure you choose the right journal. Consider factors such as the journal’s scope, readership, and impact factor. Make sure your article fits with the journal’s focus and aims.

Read the Guidelines

Read the journal’s submission guidelines carefully and follow them closely. Pay attention to formatting, length, and other requirements. Failure to follow the guidelines could result in your article being rejected without review.

Get Feedback

Before submitting your article, get feedback from colleagues or mentors. Ask them to read your manuscript and provide constructive criticism. This can help you identify potential weaknesses and improve the quality of your article.

Write a Strong Abstract

Your abstract is often the first thing that editors and reviewers will read. Make sure it is clear, concise, and provides a compelling summary of your article. Highlight the key findings and implications of your research.

Use Clear and Concise Language

Use clear and concise language when writing your article. Avoid jargon, technical terms, and complex language that could be difficult for readers to understand. Write in a way that is accessible to a broad audience.

Address Reviewer Comments

If your article is rejected or requires revisions, make sure you carefully address all reviewer comments. Be thorough and professional in your responses. This can increase your chances of acceptance in future rounds of review.

Keep Records

Keep records of all correspondence with the journal, including submission dates, reviewer comments, and decisions. This can help you stay organized and keep track of the progress of your article.

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Writing a Cover Letter for Journal Submission [Free Template]

• Research Process
• Peer Review

Journal cover letters are your chance to lobby on behalf of your manuscript. This AJE Journal Cover Letter Guide offers some useful tips for getting them right. It also includes a free journal cover letter template.

Updated on September 20, 2018

The cover letter accompanying your journal submission is your chance to lobby on behalf of your manuscript. The letter is far from just a formality and should be written with the same care as your manuscript's text (if not more). Ultimately, your cover letter is designed to influence the decision of the editor to send your manuscript out for peer review. The letter will argue that your manuscript is a good fit for the journal you are submitting it to and highlight your most important findings. Let us help you produce the most effective cover letter possible.

Getting ready to submit your manuscript? Download our comprehensive Free Journal Cover Letter Writing Guide with Template .

A cover letter should be written like a standard business letter :

Address the editor formally by name, if known. Include your contact information, as well. This information is probably available through the journal's online submission system, but it is proper to provide it in the cover letter, too.

Begin your cover letter with a paragraph that states the name of the manuscript and the names of the authors. You can also describe what type of manuscript your submission is (research article, review, case report, etc.). In this first paragraph and the next, describe the rationale behind your study and the major findings from your research. You can refer to prior work that you have published if it is directly related.

Next, write a short paragraph that explains why your manuscript would be a good fit for the journal. Do not simply state that your manuscript is “of interest to the field” or “novel.” Address specific aspects of the journal's Aims & Scope statement. If the journal expresses interest in research with a clinical application, be sure to highlight the importance of your work in terms of clinical implications. If the journal mentions that it focuses on nanostructured materials, explain how your work involved such materials. Even if your work is not a perfect fit for the journal, be sure to address some of the Aims & Scope statement, and explain why your manuscript would be of interest to the journal's readers.

Finally, close with a brief paragraph indicating the following:

• The manuscript is original (i.e., you wrote it, not copied it)
• No part of the manuscript has been published before, nor is any part of it under consideration for publication at another journal
• There are no conflicts of interest to disclose
• A list of potential reviewers (only if requested by the journal)
• Any researchers who should NOT review your manuscript

Together, this information provides assurance to the editor that your manuscript merits consideration for publication in their journal and that you are interested specifically in their journal. Sometimes great science will be reviewed regardless of the cover letter, but a well written cover letter is useful for the vast majority of scientists who want to make their research stand out.

Best of luck with your research! If you have any questions about your cover letter, write us anytime.

Ben Mudrak, PhD

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Cover Letter for Journal Submission Templates

Download a Microsoft Word template for a standard journal cover letter (also available with instructions in Chinese , Japanese , Korean , Portuguese , and Spanish ).

Writing and formatting

In this section:

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• Video: How to submit your article

The cover letter gives you the opportunity to present an overview of your manuscript to the editor.

Your cover letter should include

• The objective and approach of your research
• Any novel contributions reported
• Why your manuscript should be published in this journal
• Any special considerations about your submission
• Related papers by you and/or your fellow authors (published or under consideration)
• Previous reviews of your submission
• Previous submissions of your manuscript to that journal
• Previous communication you’ve had with journal staff

You’re encouraged to submit previous communications as they can help expedite the review process. If you have any of the following, you can submit them as ‘Supplementary file for editors only’:

• Copies of related papers
• Previous editors’ comments and your responses
• Previous reviewers’ comments and your responses

NIH Employees

If you or any of your co-authors are NIH employees, you will have to submit a completed and signed NIH Publishing Agreement and Manuscript Cover Sheet according to NIH’s Employee Procedures .

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How to write a manuscript cover letter

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I just finished passing around my nearly-finished manuscript with my co-authors and they have provided feedback. A year and a half of planning, executing and writing have resulted in this important document. I make my final edits, and voila, I am done! Am I ready to submit?  Not so fast. Most scientific journals require a manuscript cover letter that I must submit along with my manuscript. This guide outlines how to write a successful cover letter for your science manuscript.

Like the Specific Aims page of a grant, the cover letter is an opportunity to succinctly describe what you have done, describe how your findings will impact the field, and communicate why these findings are particularly relevant to the particular journal that you have chosen.

Editorial Review.

The manuscript cover letter is not a mere formality.  At many journals, you must pass an initial hurdle even before your paper is sent out for peer review:  editorial screening. Put simply, the editor will read your cover letter (and perhaps your abstract) and ask, “If everything the authors are telling me about their work is true, is the science of significant importance to the field and well-matched for our journal?”  At this editorial stage, the editor makes no judgment about the quality of your work.  Indeed, at this stage, the editor is giving you the benefit of the doubt that you have conducted sound research.

If the answer to the initial editorial question is “yes, this sounds like an interesting and significant study,” then the editor will send it out for peer review and reviewers will evaluate the scientific merit of the work.  But if the answer to the initial editorial question is no, then there is no need to advance the paper for peer review.  So you can see the importance of writing a compelling cover letter.  The cover letter is your chance to showcase the importance your science.

How to start.

Your cover letter should begin with a salutation addressing the Editor by name, (e.g., Dear Dr. Reynolds: ). If this information is not provided by the journal, then you can simply begin with “Dear Editor:” as your salutation. Your first sentence will always contain the title of your work.  A reasonable opening sentence would be as follows: “We are submitting a manuscript titled “[Insert title here]” that we wish to have considered for publication in [Insert journal name here].” Then, in a sentence or two, communicate the overall importance of what you have found and how it will impact the field – do not include details about your methods here (which you will save for the second paragraph). End with a sentence stating why this finding will be of interest of to the readers of the particular journal that you have chosen.

How to middle.

You should think of your second paragraph as a shorter version of your Abstract. Think about what you did in your Abstract. You provided the reader with some scientific context (i.e., this is what the field currently knows). Next, you summarized your Methods (i.e., this is what we did), and you provided your Results (i.e., this is what we found). Finally, you gave them a take home message (i.e., this is why you should care). You should do the same thing in this paragraph to the editor.  Be concise.  Four sentences.

[dropshadowbox align=”none” effect=”lifted-both” width=”auto” height=”” background_color=”#D3D3D3″ border_width=”1″ border_color=”#dddddd” ] “To our knowledge . . .”

Many researchers include statements like “Here we show for the first time . . .” or “To our knowledge, this is the first demonstration…” in the body of their manuscript. In the era of twitter and social media, this has become an increasingly popular phrase to throw about in scientific discourse, but it should be avoided in both your manuscript and your cover letter. History will record whether your work was the first of its kind, not you. Leave phrases like these out. [/dropshadowbox]

How to finish.

Your last paragraph should include a final statement assuring the editor that the work you have submitted has not been  a) simultaneously submitted elsewhere and b) previously published in part or in whole.  Similarly, you should alert the editor if your paper contains new data that have been combined with previously published data. This information should be included in the Methods section of your manuscript, where you will also provide the reference to where the previously published data can be found. Your cover letter should end by thanking the editor for their time and consideration.

Recommending Potential Reviewers.

Some journals will request that you provide them with the name and contact details of potential reviewers. First, make sure that you search potential reviewers online to ensure that you have the most up-to-date contact information for each person. Your job here is to make it easy for the editor to contact your suggested reviewers.  If an editor has trouble finding your suggested reviewer, they will simply select someone else.

Second, suggest people in the field that you know have the expertise to evaluate your work. The editor has been assigned your paper by the journal because they know the field well and, thus, they know the people who are qualified to review your manuscript.  Do not suggest a reviewer whose expertise is tangential to the subject matter at hand –  the editor will likely ignore your suggestion.

Third, suggest only potential reviewers with which you have no conflict of interest. If you have published with another scientist within the past few years, it would be inappropriate to suggest them as a reviewer.

Is it ok to exclude potential reviewers?

Some journals allow you to list non-preferred reviewers. Perhaps there is a scientist you feel simply does not respect your work or that you feel you are in direct competition with. It is always tricky to know what to do here. On the one hand, the editor may respect your request and exclude your non-preferred reviewer.  On the other hand, the editor may have great respect for your non-preferred reviewer and may now wish to know what their take on the work is. That is, you may have just suggested a reviewer that the editor might not have thought to involve in the first place.

In general, it is best to trust the scientific process and not get involved in excluding potential reviewers. Most scientists can put their biases aside and evaluate good science fairly. That said, if you do still wish to exclude a particular potential reviewer, it might help to include a statement in the final paragraph of your cover letter explaining the nature of the conflict of interest to the editor.

Ready to submit.

You are now done and ready to submit. I hope we have made it clear that when it comes to your cover letter, less is more . That is, keep it as brief as possible – no more than one page. Editors have to read many of these letters amidst their otherwise busy schedules. Say what you want to say as clearly and briefly as possible. For an example of a cover letter that we have edited click here .

Remember, different journals have different criteria for the cover letter. For example, some will want a full-page signed pdf on letterhead, whereas others may  have you enter your cover letter directly in their online submission form. Always check the Instructions for Authors section for specific guidelines relevant to your journal of choice. Finally, if you should have Complete Science Solutions edit your manuscript or grant , we will be happy to edit your cover letter for free . Either way, good luck with your letter and your submission.

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Writing a persuasive cover letter for your manuscript

Anthony Newman

Lora Heisler

About this video

Submitting your manuscript without a cover letter or an incomplete one can impact the outcome of your submission. Strong cover letters efficiently introduce your work to the editor, but also communicates why your paper is of interest to the journal audience and contributory to overall science. 

In this Researcher Academy module, experts Anthony Newman and Lora Heisler give you important insights about writing strong and persuasive cover letters. This webinar will give an exhaustive check list on writing an effective cover letter which brings attention to your paper and helps it get published.

You will come away with the knowledge of what cover letters are, how they support your manuscript and how you can write an airtight cover letter, covering your research scope, objectives and goals. 

About the presenters

Senior Publisher, Life Sciences, Elsevier

Anthony Newman is a Senior Publisher with Elsevier and is based in Amsterdam. Each year he presents numerous Author Workshops and other similar trainings worldwide. He is currently responsible for fifteen biochemistry and laboratory medicine journals, he joined Elsevier over thirty years ago and has been Publisher for more than twenty of those years. Before then he was the marketing communications manager for the biochemistry journals of Elsevier.  By training he is a polymer chemist and was active in the surface coating industry before leaving London and moving to Amsterdam in 1987 to join Elsevier.

Chair in Human Nutrition, The Rowett Institute, The Institute of Medical Sciences, University of Aberdeen.

Lora Heisler, Ph.D. is Chair in Human Nutrition at the Rowett Institute, University of Aberdeen, Scotland, where she is Head of the Obesity and Food Choice research theme.  Professor Heisler has enjoyed being an active member of various journal editorial boards for more than a decade.  She was appointed as Deputy Editor of Elsevier’s journal Molecular Metabolism in 2018. Professor Heisler received her B.A. from Boston University, M.Sc. from London School of Economics and Political Sciences and Ph.D. from Tufts University.  She undertook postdoctoral fellowships at the University of California at San Francisco and Beth Israel Deaconess/Harvard Medical School.  Professor Heisler began her independent research group at Harvard Medical School and then relocated to the University of Cambridge in the UK. Her active research group moved to the Rowett Institute, University of Aberdeen in 2013 where they investigate the neurobiology of obesity and type 2 diabetes.

How to turn your thesis into an article

5 Diseases ailing research – and how to cure them

Using proper manuscript language

10 tips for writing a truly terrible journal article

How to prepare a proposal for a review article

What should be included in a cover letter?

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Submitting your manuscript: Write the right cover letter

It may seem obvious, but a journal editor's first serious impression of a submitted manuscript lies not only with the article title but also, rather simply, with the cover letter . The cover letter is your first "formal" interaction with a journal, and it embodies a request, so to speak, to consider your article for publication. But it also provides you with an excellent opportunity to present the significance of your scientific contribution.

I've worked as an editor for primary research and review manuscripts alike, and despite their many similarities, there are distinctions to writing the cover letter for each. Here are some helpful tips for writing a suitable cover letter for Cell Press scientific journals. 

Cover letter basics: What do we look for?

1. Let's start with content. We look for letters that start by succinctly explaining what was previously known in a given field and then state the authors' motivation for wishing to publish. Following that, the conceptual advance , timeliness, and novelty should be immediately conveyed. What sets apart this scientific contribution? What is the significance of the work, and where does the article lead us? Will this research be of interest to a broad readership?

2. Get to the point.  We want a concise letter that quickly gets to the main point and the take-home message; this sets the stage for your manuscript. Succinctly explain the topic of discussion, and quickly convey the key conclusions. Do not submit a long dissertation. Generally, one page suffices and is preferred.

3. Do not rehash the abstract of the paper. Copying and pasting the abstract into your cover letter verbatim is a big no-no. Instead, we seek a synthesis of the key points—possibly, and depending on style, the summary might resemble a brief story pitch in an elevator! But importantly, you need to venture beyond the summary: write a sentence that takes you further than the obvious conclusions. How does the content move the field forward? Are the implications far-reaching?

4. Get excited!  Authors' excitement about their scientific contributions can undoubtedly inspire the editor who's reading the cover letter. Overall, the sentiment of "you're gonna love reading this paper!" should seep through—make that happen!

5. Include a wish list of reviewers. Relevant information on potential reviewers (including their field of expertise) can be included and is definitely a plus, as it can be quite helpful to the editor. By contrast, please don't provide a long list of excluded reviewers (three maximum), and most certainly do not suggest excluding authors from entire continents on the map! Also, save the editor some time by specifying which author should be the  lead contact , and indicate their affiliation.

6. Keep it simple ... and humble. In terms of style, consider sincerity and simplicity . The letter should be humble and forthcoming; don't be ostentatious or florid. Claims of priority, if not fully supported, tend to be a turnoff. In addition, statements indicating that the article or related findings have been presented at X number of conferences and are "tremendously" well received by the scientific community—or otherwise—do not add much to the cover letter. They might instead suggest right off the bat that a lot of cooing and convincing of the journal editor will be required. So let the "science" speak for itself. Also, a statement declaring that the article is original and isn't being considered elsewhere can only add to your cause!

7. Proofread your letter by checking the spelling, grammar, and syntax. A well-written letter indicates that you take your submission seriously and that you are an author who pays attention to detail.

8. Check every detail. Avoid mistakes such as directing the cover letter to the editor(s) of a different journal, or to a different journal altogether. This might suggest that you've submitted your article elsewhere, that it might have been poorly received, and perhaps that the Cell Press journal you're submitting to isn't your first choice. It could also suggest that you don't pay sufficient attention to detail. Sadly, these sorts of errors continue to surprise me and happen more often than I would like.

The cover letter:  Primary research or Trends  reviews?

There are subtle differences in writing a cover letter for a primary research journal versus a  reviews journal, such as the Trends journals at Cell Press.

Many different article formats exist within both the primary research journals and the Trends journals. Make sure it's very clear which type of format you're submitting. As the Editor of Trends in Molecular Medicine , I find that this detail is not always specified by the author(s) in the cover letter. Knowing what type of manuscript you are submitting can help you fully nail down the cover letter in terms of the intent, scope, and take-home message of the article. It also recapitulates your prior agreement with the editor regarding article format: is it a review or an opinion piece?

Along these lines, the content of your cover letter will differ for a review or opinion piece as opposed to an original research contribution. For both, the timeliness and novelty need to strongly come across. However, for a research article, the specific advance relative to previous experimental findings needs to be clearly indicated. For a Trends article, the synthesis and conceptual advance should be particularly stated in terms of what is new and has been trending in the field for the last one to five years. For an opinion piece, take a strong and novel stance on a hypothesis or idea. Projecting into the future, beyond the main take-home message of the paper, is also a strong consideration for Trends articles.

I recommend that you familiarize yourself with the journal that you are submitting to—browse through the journal website and do your homework on author guidelines and the scope of the journal prior to submission! In the case of Trends journals, know who the editor is. Each Trends journal is run by a single editor, so beginning your cover letter with "Dear Madam" when the editor is male, or "Dear Sir" when the editor is female, may not create a favorable impression. While such mistakes are usually overruled by the content and quality of the science, it certainly helps to have your cover letter completely in order!

Keep on writing—we love hearing from you and receiving your submissions! For more tips on writing cover letters for scientific manuscripts, check out this page . Also read more from Cell Press Editor in Chief Emilie Marcus on when—and when not—to submit your paper .

Posted by Catarina Sacristán Catarina is the Editor of Trends in Molecular Medicine . She received her PhD in immunology from Tufts University, followed by postdoctoral research in Mexico and at NYU. She also did a stint in cardiovascular research at a biomedical engineering firm. She enjoys thinking about immunology, genetics, signaling, imaging, virology, metabolism, neuroscience, cancer, therapeutics, and more. She came to Cell Press from The Journal of Experimental Medicine . A movie buff, she also loves to read, write, ski, horseback ride. and dance.

Filed to From the editors , Submission , Get published , Cell Mentor

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Get science-backed answers as you write with Paperpal's Research feature

How to Write a Cover Letter for Journal Submission

A cover letter to the editor for a manuscript submission is the author’s “pitch” as to why the research paper deserves publishing in a particular journal. If you think it is yet another document in the journal submission process for filling in author details and a mere description of the communicated research, think twice. If written succinctly, a cover letter can be a tipping point for your manuscript, leading to an outbound peer review or an outright desk rejection.

More often, the journal editors are burdened with the task of scrutinizing a huge number of manuscript submissions to select novel and high-quality research that align with the scope of the journal and the demographics of its readership. Through a well written cover letter, an editor can get a chance to know the value of the communicated research prior to reading it in full and can be convinced to proceed with the further review process. Thus, it is important to use this tool effectively to move past the editorial screening stage.

Here are the key elements “ TO DO ” when you write the cover letter for your next manuscript submission:

• Manuscript title and category

Begin the cover letter with the manuscript title and the journal name for article submission. Mention clearly the category of the article type (letter, article, brief, review) pertaining to the particular journal.

• Background and context

Briefly, in a couple of sentences, describe the background of the research to bring context to your work. Mention what has been missing or lacking in understanding of a research problem that has not been addressed so far in the published reports.

• Focus and novelty

Describe how your work, communicated through the submitted manuscript, aims to bridge the existing gap in understanding the research problem. Highlight the novelty of your work by mentioning the major results or findings of your work which provide insightful conclusions that have not been published so far.

• Relevance to the journal and readership

Explain how this new research work is an advancement over previously published works and relevant to the journal’s aim and scope. Mention if there are potential future applications of your current research and why the findings of your work might be of broad interest to the readership of the journal.  

• Originality and conflict of interest

Confirm that the research presented in the study is original and that the manuscript is not currently being reviewed by another journal. The manuscript has been approved by all authors, who also consent unanimously to its submission to the journal.

• Identify preferred/opposed reviewers

As per the editorial policy, the information provided by the authors in the cover letter is treated as confidential and is accessible only by the editors and not open to referees. You can suggest the names of potential reviewers if you believe they can be the best reviewers for your manuscript being stalwarts in the same research field. Likewise, you can also request the editor to exclude certain individuals as referees who you believe may not do justice to reviewing your manuscript owing to potential conflict of interest.

• Competing work  

You can alert the editors in the cover letter if you are aware of another group competing with similar work and seek an expedited review process. This can help the editors in determining editorial workflow accordingly.

While writing a cover letter is liberating and gives you the freedom to describe what is exciting about your research work rather than writing within the constraints of a particular journal’s format, you should still adhere to a few “ DON’Ts ” to err on the side of caution.

• Rehash the abstract

While writing the body of the cover letter, do not rehash the abstract of your manuscript that the editor will likely read next. In fact, the abstract of the article can be re-written according to the journal format more easily once you have done the cover letter.

• Too many details, jargons, tall claims

Keep your cover letter to a maximum of one page. Use the limited space wisely and write concisely. Restrict usage of technical details, jargons and boastful claims that can only make the editor wary of your presented work. Also steer clear of expressing any kind of exaggeration/flattery for the journal even if that is the best place to publish your work.

Remind yourself always to follow the ethics of working in a scientific community and strictly avoid any kind of plagiarism.

Finally, writing a cover letter for a journal submission is your best chance of enabling a manuscript to go through the editorial process, getting peer reviewed and published in a coveted journal of your choice. Do your best to grab and use this opportunity to the fullest!

Additional reading:

Nature Immunology 9 , 107 (2008) “Editorial: Prelude to a good story” Available at https://doi.org/10.1038/ni0208-107

Related Reads:

• How to Write a Grant Proposal for Research
• How to Write Effective Brief Communications
• How to Write a Personal Statement for a PhD Program
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Do You Overlook These Key Elements When Writing a Research Manuscript?

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• Publication Process

Writing an Effective Cover Letter for Manuscript Resubmission

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As a researcher who has invested time and effort perfecting a manuscript after years of research, you might be aware of how disappointing it is to receive a “revise and resubmit” notice from your target journal. The good news, however, is that there is still scope for your manuscript to be accepted subsequently—an outcome which is far more desirable than a complete rejection ! How can you improve the chances of your manuscript getting accepted upon resubmission? A well-written cover letter accompanying your manuscript can definitely help!

So, what is a cover letter?

A cover letter is a brief document that introduces your research, submitted along with the manuscript. Here are a few important points to note about it:

• It is usually written and submitted by the corresponding author.
• It is required by most peer-review journals.
• It should include the name of the editor and the journal, the importance of the manuscript, and other relevant details.
• It should include the date of and a brief statement to note the resubmission

What tips should you follow to write a cover letter for resubmission?

Here are some important tips you can follow to ensure that your cover letter is appreciated by the editors and prompts them to revisit your work:

The cover letter to the editor should be brief, formal, and polite. Even if the remarks on your manuscript are rude, do not get upset. Remember that they are not a criticism of you as an individual, but about your work. They are meant only to improve your work.

Provide accurate details

Include your manuscript details such as the title, the corresponding authors’ names, the manuscript number, and a brief statement to note the resubmission.

Draw attention to the changes made

Highlight all the changes you have made to the manuscript. This will form a positive impression on the editor and encourage him/her to consider that your resubmitted work is fit for publication. For example: “I have made every attempt to fully address these comments in the revised manuscript.”

Be positive in your approach

After mentioning the changes you have made to your work, acknowledge that your reviewer’s comments and feedback have helped you enrich your manuscript. For example: “I believe the additional analyses discussed above have helped to substantially improve my manuscript.”

Respond to specific comments

Make sure that you respond to every comment of the reviewers or the editor separately. In case you were unable to make the changes, explain or state the reasons underlying the same. For example: “This is a good point that has led to a rewrite of this section of the paper. As suggested, I agree that…”

Express gratitude

Include a note of thanks to the editor for the opportunity to improve and resubmit your manuscript. For example: “I would also like to take this opportunity to express my gratitude/thanks to the reviewers for the positive feedback and helpful comments that supported these revisions.”

Add a preview for the content

Do not forget to add an at-a-glance roadmap on how and where to check for revisions in the manuscript. It will make it easier for the editor or reviewers to go through the draft. For example: “Below, I have outlined how I have handled Reviewer 1’s comments. I have reiterated each suggestion in (bold/italics).”

In addition, ensure that you dedicate sufficient time to draft the cover letter. This way, it will not come across as a last-minute, hurried addition, but as an informative, comprehensive, and well-thought-out document. Despite these tips, should you still require help, Elsevier Author Services is here to help you. Our experts can guide you through the entire process and help you produce an excellent paper ready for publication!

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Example Cover Letter For Manuscript Submission

Writing a Strong Cover letter  for Manuscript Submission

When you send your manuscript to a publisher or literary agent, you will need to include the following information;

– A letter of motivation

– A biography of the author

– A synopsis of your manuscript

– Selection of sample chapters

The first thing the editor or literary agent will see when they open the envelope for submission is your cover letter. It is so often overlooked by aspiring writers, and yet, if the letter you wrote is not up to par, then chances are the editor or literary agent will not continue to read the rest of your submission.

So what information to include in your cover letter for manuscript submission? Well, in general terms, there are three important things in your letter should focus on you, your book, and why your book is worthy of publication.

Summerdale publications Stewart Ferris reports that “when writing about himself, the goal of a paragraph that summarizes the highlights of what qualifies you to write this book. The editor has to know if you have had success before publishing, if you have the necessary preparation for writing his book, and if you write more books on the subject. ”

Then you need to think about what information to include in your cover letter that is directly related to the manuscript or book in question itself. You want to focus just maybe a paragraph of your letter on the content of the book itself, to give the reader a taste of what is to come in the synopsis, and finally in the complete manuscript. Focus briefly on the “who, where, when and what is happening” on the story line.

You must also include the reasons why his book should be published in his letter. Think about why the publisher would not be taking a big risk on the introduction of his book. Maybe you have some contacts that allow easy campaign to promote the book. Or maybe you’ve completed a large piece of market research that shows that there is real demand for your book. In addition, you may be aware of ways that could lead to a rapid and reliable market for his book – which can be a university professor with a guarantee that your book will become an essential text for your university, once published by example.

Finally, remember that your writing is on permanent display throughout the presentation of manuscripts.  So try to include a sentence or two that summarize the essence of your beautiful book.

If you send your manuscript by e-mail, your cover letter comes before your story that the main body of your e-mail, and always acts as your introduction. Your cover letter should be single-spaced, written in standard block or semi-block format, and a double space between paragraphs. If you mail your manuscript, you should consider writing your cover letter on plain white 8 ½ “by 11” paper.

As mentioned earlier, the number of parts in a letter may vary. But regardless of how many sections there are, some information that is normally specified in the cover letter includes the title of your story and your word count history. If you send your manuscript by mail, as opposed to e-mail, you can also specify that the self-addressed, stamped envelope (SASE) is closed and there is no need to return the manuscript .

What not to include in your cover letter for manuscript submission is a detailed description of its history. I also noticed some recent submission guidelines where publishers have emphasized the authors not to include photos of themselves with their offers. Make sure to always read the most recent guidelines published and send only what publishers require that you send. Disobeying submission guidelines can sometimes mean an automatic rejection of its short history.

Not all publishers will be required to send letters with his manuscript short story, but when a letter is necessary, try to think of your cover letter as well as a courtesy, the introduction of a tool, rather than an argument of sale. Let your cover letter to introduce, and let your story speak for itself. This is more acceptable and less rejected.

The numbered requirements which you posted tell you exactly what the company wants you do. Generally the type preferred is Times New Roman. You should be able to format your word processor to create the book’s pages as the company is asking. Once you’ve done that, you’ll be able to determine how many pages you’ll have, and, if your manuscript is completed, you can just print it. The paper which you use in your printer would naturally be good quality and the proper size. The normal font size is 10 point, but you can control that, too, in your word processor.

How do i correctly send my story to these publishers? How do i make my novel in this format? For example, what does it mean by typewritten pages?

How should I write my story, the font size, are the pages supposed to be back and front written or what?

How do i write it in this structure they gave me?

This is what they said to me… FORMAT FOR SUBMISSIONS 1. Submissions should consist of a book-length manuscript with a contemporary setting that will be suitable for readers ages 12 to 18.

2. Manuscripts should be no shorter than 100 typewritten pages and no longer than 224 typewritten pages. Include a brief plot summary with your covering letter.

3. Each manuscript should have a cover page listing the title of the novel; the author’s name, address, and telephone number.

4. Manuscripts should be typed double-spaced on 8-1/2″ x 11″ good quality white paper, and pages should be numbered consecutively. The type should be at least 10 point. The author should retain a copy of any manuscript submitted.

Writer’s Market: What else do I need? I’m purchasing the 2009 version of WM, but having never submitted any of my writing as a freelancer before, what else do I need to know that’s not included in this book? For example, will it tell me how to write a query letter, the dos and don’ts of my manuscript, and so on? At this point I have no idea if I should be sticking to a certain number of pages, what the format of my manuscript should be, and so on.

Basically, I’m trying to find out if the WM only gives listings, or if it will guide me step-by-step through the submission process.I would appreciate any guidance regarding websites or other publications for the first time writer, if you feel that WM does not cover some of the things I need to know.

Thanks in advance!

It does cover the basics, including how to format a manuscript and write a querry letter. Each book has articles on the publishing industry, submission process, and some author interviews.

consider joining absolutewrite.com/forum (the watercooler) for more assistance. It’s a large and knowledgable group with a wealth of information to share.

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• Ready To Submit: Writing a Cover Letter

Writing a Cover Letter

When submitting a manuscript, authors will need to additionally submit a cover letter. The purpose of this letter is to highlight the importance and relevance of your research. To assist with preparing your cover letter to include all points, you can download and use our sample cover letter as a guide.

What to Include

• Address the editor by their name.
• Include your manscript's title.
• State that your paper has not been published/is not under consideration by another journal. Also include if an earlier version of this paper was presented at a conference, and provide a detailed list of changes since the presentation.
• Provide nominations for two Senior Editors, two Associate Editors, and up to four reviewers. Make sure to include the rationale for your nominations. You may read more about this in the Editor Nominations section .
• Declare any conflicts of interest, or confirm there are none.
• Include contact information for yourself and any co-authors.

Things to Avoid

• Do not copy your abstract into your cover letter. Instead, explain the significance of your work and why it should be published in MIS Quarterly.
• Do not use too much jargon or acronyms. Keep your letter straightforward and easy to read.
• Avoid too much detail. Keep your cover letter to a maximum of two pages.

A Creative Cover Letter For Manuscript Submission

Should you include a cover letter when you submit a manuscript for journal publication? Of course, you do! Especially if the submission is unsolicited. That is you are cold-pitching an editor or offering something outside of the commission. Your cover letter will contain important introductory information, and contextualize what you are providing.

So, how do you proceed? Use our cover letter example as a reference point. Then customize it using the bonus cover letter writing tips.

Cover Letter Sample For Manuscript Submission in .docx Format

Download example (Word version)

Cover Letter For Manuscript Submission Example – Text Format

Dear Ms. Jeffries,

My name is Thomas Ninja, and I am a Ph.D. candidate studying Modern Culture at the University of Pennsylvania. I am submitting my manuscript titled, ‘The Cultural Impact of The Art of Ninjutsu’ for consideration as a Cultural Studies Journal research article.

This work reflects 9 months of research on the evolution of Ninjutsu from its use as a tool of covert warfare in Feudal Japan to its role in pop culture today. Along the way, I uncovered some meaningful connections between this metamorphosis and other socio-political changes that were also occurring in parallel. My research corroborates previous studies indicating that current events impact public embrace or objection to martial arts.

I believe this submission will be useful to your readers, as it addresses the topic of both modern and ancient using a unique phenomenon as a lens. The research stands to benefit students researching Pacific Rim Studies, Western Film and Pop Culture, and other phenomena.

I am submitting this work to you on May, 23rd, 2021. This work has not been published in another journal, nor is it in consideration for publication. I have informed my advisor as well as the two contributing researchers that I am submitting this work to you, and have obtained their permission to do so. Their names are listed in the attached document.

Please let me know at your convenience if you are interested in publishing this research.

Thomas Ninja

Tips For Writing a Great Cover Letter For Manuscript Submission

As you can see, this is a short cover letter . But it still packs a punch. In general, manuscript cover letters should not run too long as you are probably addressing a busy editor. The above means that every word should count. The follow-up tips will help you write your cover letter, format it correctly, and pitch it to the right publishers.

Get All The Right Information In

The person reading your cover letter will be looking for some specific information. Some of this will be in the header of your letter. But, there is a significant amount of data to include in the body of your letter as well. 

Use the following as a checklist:

• The name of the editor
• The name of the journal
• The title of your manuscript
• Date of Submission
• The type of manuscript you are submitting
• Information on your research
• Your methodology and instruments
• What your conclusions are, and their impact on your discipline
• Your contact information

Avoid Over The Top Descriptions

You are submitting an academic manuscript for publishing consideration. You aren’t selling a novel, pitching poetry , or convincing a hiring manager that you are the best fit for the job. Keep things formal and understated. (Even if you really want to get your research published!). Avoid using excessive superlatives to describe the research you’ve done or the work you are submitting. 

Don’t write your cover letter to include phrases like ‘groundbreaking’ or ‘disruptive’. Also, don’t bury the reader in pointless jargon. If it can be communicated in plain English, do that. If it cannot be, provide a simple explanation.

Keep it Brief

A cover letter for manuscript submission should be three paragraphs at most. Present yourself and your research in paragraph one. Use paragraph two to detail how and why your work is relevant. Add a third paragraph to cover any formalities. That’s it. You are good to hit Send. 

Confirm Your Permissions

The publisher will want to know that your work can be published without any issues. You need to assure them that they can. 

To do so, include a statement that addresses the following points:

• That you haven’t had the work published in other journals , or have permission from previous publishers.
• You have obtained clearance from other researchers to submit the manuscript.
• The manuscript is owned by you, and you have the right to submit it

Follow Instructions To a Dot 

Research the journal and publisher. They probably have specific submission instructions. For example, they may dictate that all work is submitted as a PDF document. Or that you send them a separate list of research links. Take a few minutes to comply, so that you don’t lose an opportunity to be published.

Final Tip: Have a Response Prepared

Publishing in academics journals can be an involved process. The publisher may have additional questions for you. For example, you may be asked for article examples from their journal that are similar to theirs. They may also ask to clarify your research methods. Identify what might bring up more questions, and have some answers prepared.

Other Cover Letter Samples

Example cover letter for phlebotomist, convincing cover letter for vet receptionist + writing tips, a serious security guard cover letter example, a detailed paraprofessional cover letter example.

A huge collection of cover letters created by a ninja team of writers and career advisors. Learn how to write, style and file cover letters that employers actually enjoy reading.

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How to write a cover letter to accompany your manuscript

In this post, we discuss some of the important points to consider when preparing a cover letter to accompany the submission of your manuscript to a journal.

What is a cover letter and why is it important?

Most journals require a cover letter to be submitted when you submit a manuscript that you wish to be considered for publication. A common thing that authors sometimes do, however, is to treat the cover letter as an afterthought, something to be written quickly, perhaps just copying and pasting parts of the abstract. This is a mistake. The cover letter is a vital part of the submission process – it may even be the only part of your submission that a busy editor at a top journal will read!

Bearing this in mind, your cover letter must capture a reader’s attention. That way, they may be sufficiently interested to go on and read your abstract, and potentially your entire manuscript. It is therefore essential to spend some time preparing your cover letter.

Tips on how to prepare the perfect cover letter

• Keep your cover letter brief – ideally, it should be no longer than one page.
• Address your cover letter to the Editor-in-Chief of your target journal. Their name can be found on the journal’s website.
• At the top of your letter, include the date, the Editor-in-Chief’s full name, and the full name of the journal. Make sure you use their correct title (for example Doctor or Professor) – and make sure you spell their name correctly!
• The letter itself should begin with “Dear” and the title and name of the Editor-in-Chief.
• Your cover letter should focus on what is original or unique about your work and the question or problem your research has addressed. Importantly, you should make it clear why your manuscript will be of interest to the readership of your target journal.
• If you and your co-authors have no competing interests to declare, you should add a sentence saying this. You should also state that all authors have agreed to the manuscript being submitted, and that it is not under consideration for publication in another journal.
• To end your cover letter, sign off with “Yours Sincerely”, followed by your title (for example Doctor or Professor) and your full name. This should be followed by your contact details – your professional email address will usually be sufficient.

Common errors to avoid when preparing your cover letter

• Don’t be tempted to simply copy and paste some (or all!) of your abstract.
• Don’t describe your manuscript as a “first draft”.
• Don’t write “Please find attached…” Instead, write something like “We are writing with regard to our manuscript entitled “( the title of your manuscript )”.
• Avoid using too much jargon or a lot of abbreviations or acronyms.
• Check carefully for any spelling and grammar errors – ideally, have someone else proofread your cover letter before submitting it.

Further study for this week

If you have time for further study this week, try writing a cover letter for a manuscript that you are planning to submit to a journal.

And that’s it – some simple steps to follow to help you craft the perfect cover letter for submission with your manuscript!

How to Write a Cover Letter

S omebody hiring you for a job will skim your resume, or may use an applicant tracking system to review it, but they will read your cover letter if considering you for a position .

Resumes are a vital tool for landing a job, and no job seeker should rush writing it, but the cover letter is worth lavishing time and attention on, too.

So if you’re looking for tips on how to write a cover letter, open up a document, and let’s get writing.

What Is a Cover Letter?

A cover letter is a letter that you’ll submit to an employer along with your resume and anything else, like a portfolio of your work, when you apply for a job. The cover letter makes a case for why you’re the person the company should hire.

If your resume is analogous to your brain – offering the facts and the logical reason why you should be hired – the cover letter is your heart – possibly striking an emotional chord with the employer and at least getting to the heart of the matter of why you, and no one else, is right for the job.

The resume should convince the employer that you have the background for the job; the cover letter should make it clear that you’re going to be an amazing employee and a pleasure to work with. After all, if all goes well, these people may be hanging out with you on their lunch break or working closely with you when you’re dealing with stressed out or difficult clients. That's arguably almost as important as you actually being capable of doing the work you're being hired for. And because of that, an employer would like to have a sense of your personality and who you are. A well-crafted cover letter can do that.

Choosing a Header

So how should you start the cover letter? Most resume experts will tell you to try and find the hiring manager's name, if at all possible. Assuming you have it, then you'd go with "Dear Mr. Smith" or "Dear Ms. Smith." You might want to address the person by their first name, according to Jennifer Fishberg, founder of Career Karma Resume Development & Career Services, which is based out of Highland Park, New Jersey.

That is, if you’ve already had contact with the person, or there has been a referral, going with a first name might be fine, Fishberg says.

“But if you’re unsure, err on the side of the formal,” Fishberg says.

And what if you’re applying blindly and have no idea who is going to read the cover letter? Perhaps the classic and tried-and-true “To Whom It May Concern”?

That would be a hard no, according to Fishberg.

“’To Whom It May Concern’ is a non-starter,” she says. “It just screams that this is one of a hundred mass-produced letters you've sent out and couldn't be bothered. Part of the job of the cover letter is to humanize you to the reader, so an impersonal greeting doesn't help your cause there,” Fishberg says.

So what should you go with? “If you really can't find a name, then ‘Dear Hiring Team’ can work,” Fishberg says.

The Opening

So once you’ve addressed whom you’re writing to, as you can imagine, you’d better seem pretty compelling quickly. You’re competing with a lot of job applicants.

“A strong cover letter grabs the reader's attention from the first line,” Fishberg says.

Easy to say, not always easy to pull off. But Fishberg suggests that you might want to highlight what you know of your employer’s “pain points” and your ability to offer solutions. Your employer has some sort of problem or wouldn’t need to hire somebody. The employer hopes that by hiring you, you will solve those problems.

“Start with an attention-grabbing sentence,” says Deb Harrison, a former high school English teacher and now growth and change consultant who has worked with companies in recruiting and with individuals searching for jobs. She is based out of Montgomery, New York.

Harrison says that attention-grabbing sentence might involve a relevant quote, statistic or anecdote. But don’t go overboard with your quotes, statistics or anecdote. “Make it clear in the first paragraph why you are applying for the specific job,” Harrison says.

Writing the Body

OK, you feel good about how you’ve addressed whoever is reading your letter. You’ve got the reader hooked. Now here’s where things can either soar or start to fall apart.

There’s so much to think about, including:

Length. Most job sites will encourage you to write a cover letter that’s half a page to a page long. Harrison says that “recruiters have a lot to look through, so too much information may not even get read, but it should provide enough to stand out to the recruiter.”

Tone. “Type like you are speaking in an interview ,” says Pete Milne, managing director of Robert Walters North America, a professional recruiting firm. “It is so easy to be overly formal in written form.”

That may sound like the opposite of what you want since formal would seem to equate being professional, but no, Milne asserts. Being overly formal can really backfire.

“The tendency to use bigger words or complex language is tempting in order to show your intelligence levels. However, long sentences, difficult to read paragraphs and convoluted language are all signs of poor communication,” he says. “No one should have to dissect what you are trying to say. Make it obvious and super easy to read.”

Milne adds: “Also, imagine the shock when you turn up to an interview and sound nothing like your highly formal, legal-sounding cover letter. Stay true to yourself and be confident with your real tone of voice and personality.”

Details. As in, they matter, but don't go overboard here either. “Stick to the important stuff – a cover letter isn’t a biography,” Milne says. “As much as I encourage professionals to spend a good amount of time on a cover letter, there also needs to be an understanding that this will likely be scanned over by your prospective employer – hence the need to keep the language simple. See a cover letter as your highlights reel."

And only, Milne adds, including the highlights that are relevant to landing the job.

But if you feel like your cover letter needs a little something else, even if it has nothing to do with the job, you can probably get away with it, within reason, according to Milne.

“There is no harm in including that you are an avid surfer, but don’t go on about it unless you like to compete on a professional level, and tie in how getting to the finish line is a core makeup of your personality," Milne says. "All roads lead back to whether you will be good at this particular job or not.”

You may start to feel like this cover letter is as hard to write as a novel or television script, but you don’t have to close with a powerful ending for the ages or a cliffhanger, fortunately. Harrison advises that in your final paragraph and sentences you encourage the reader to take action – that is, reply to you (and be sure to provide your contact information). She also suggests you reiterate your enthusiasm for the position and thank the reader for considering your application.

Kyle Elliott, a career coach who lives in Santa Barbara, California, had a suggestion for the ending, if you have room and think it needs more punch.

"Because social proof is powerful, a creative and powerful way to end your cover letter is with a testimonial from a supervisor, colleague or client. You don't need to ask for an entire letter of recommendation here either. You can repurpose a testimonial from your LinkedIn profile or take a snippet from a performance review you received at work," he says.

And there you go. You’re done. Almost.

Review Your Cover Letter

That was just a first draft. You need to look over your cover letter again, especially if you really want this job . There are a lot of pitfalls that you want to make sure you didn’t stumble into while writing your letter.

For instance, you shouldn't only worry about typos or misspelling names, but getting basic facts incorrect.

“Frustratingly, the No. 1 thing that professionals can often get wrong in a cover letter is the company name or role that they are applying for,” Milne says.

Think about how that looks to a recruiter or potential employer, misnaming the company or even the type of job you’re applying for.

“Often the reason this happens is because job hunters typically use the same cover letter for multiple applications – barring a few tweaks,” Milne says.

"A copy and paste job when it comes to cover letters is lazy and can be borderline offensive or off-putting to recruiters or organizations depending on how obvious it is that you are firing off the same cover letter to multiple organizations," Milne says.

Repetition can also be a problem. In other words, are you repeating everything in the cover letter that you put in the resume? Not a great idea, according to Elliott.

“You want to avoid the common mistake of summarizing your resume when writing your cover letter. Instead, use your cover letter as an opportunity to express your interest in the company and role, as well as what sets you apart from other candidates,” Elliott says.

Sure, you knew that already – but it’s still easy to fall into the repetitive trap.

“Specificity is your friend when writing your cover letter. Give specific examples as to why you're drawn to this company compared to its competitors,” Elliott says. “Additionally, explain what distinguishes you from other applicants. If you offer a specific type of experience, knowledge or skill, be sure to call this out in your cover letter.”

Final Tips on Writing a Cover Letter

Finally, the important thing is to take writing a cover letter seriously.

"Cover letters often get a bad rap these days, both from job seekers and from the hiring side," Fishberg says. "Treating the cover letter as an obligatory nuisance is a missed opportunity to differentiate yourself from other applicants."

And if you can differentiate yourself, you'll have really pulled something off. You may even get hired .

"The perfect cover letter is the one that shows you've done your homework and understand this particular job and this company's needs. It's not one-size-fits-all," Fishberg says.

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Call for Submissions: 2024 Tobin Siebers Prize

About the 2024 Tobin Siebers Prize

Submissions are now open for the 2024 Tobin Siebers Prize for Disability Studies in the Humanities. The prize is awarded in memory of disability studies pioneer Tobin Siebers, Professor of English at the University of Michigan and author of many influential books and articles in the field of Disability Studies. The prize is awarded yearly for the best proposed book-length manuscript on a topic of pressing urgency in the field (with the exception of 2020, due to the challenges presented by COVID-19). Reflecting on the work of the scholar the prize commemorates, the competition invites submissions on a wide range of topics, from literary and cultural studies, to trans-historical research, to contributions to disability theory such as work in crip/queer studies. The deadline is August 1, 2024; the winner will be announced in January 2025. Winners receive a cash prize of $1000, and a book contract from the University of Michigan Press to be published in the Corporealities: Discourses of Disability series.

Previous winners:

• 2023 Aly Patsavas’s Pain in Relation: On Cripistemologies, Chronicity, and Crip Evidence
• 2022 Anastasia Todd, Cripping Girlhood
• 2021 Susan Antebi, Embodied Archive: Disability in Post-Revolutionary Mexican Cultural Production
• 2019 Kateřina Kolářová, Rehabilitative Post-Socialism: Disability, Race, Gender, and Sexuality and the Limits of National Belonging
• 2018 Stephen Knadler, Vitality Politics: Health, Debility, and the Limits of Black Emancipation
• 2017 Elizabeth B. Bearden, Monstrous Kinds: Body, Space, and Narrative in Renaissance Representations of Disability
• 2016 Shelley L. Tremain, Foucault and Feminist Philosophy of Disability
• 2015 Anne McGuire, War on Autism: On the Cultural Logic of Normative Violence

Guidelines for Submissions

Eligible submissions include a book proposal and two sample chapters not under consideration by another publisher. Unrevised dissertations, fiction, poetry, and memoirs will not be considered. Manuscripts and supporting documents should be in digital format and must be sent via email to [email protected] and Associate Editor Haley Winkle [email protected] , no later than August 1, 2024.

In addition to the proposal and sample chapters, please send the following materials:

• A description of the manuscript
• A brief statement regarding its relative contribution to the field of Disability Studies
• The word count and illustration count
• A current curriculum vitae

For assistance with the submission process, please contact  [email protected] . 

About Tobin Siebers

The work of the late University of Michigan faculty member, Tobin Siebers, has influenced Disability Studies in field-shifting ways since the publication of his prize-winning essay “My Withered Limb” in 1998. His subsequent scholarly publications, including the books Disability Theory (2008) and Disability Aesthetics (2010) as well as essays such as “A Sexual Culture for Disabled People” (2012), quickly became pivotal works in the field. Siebers’s work has galvanized new scholarship in relation to questions of representation, subjectivity, and the entry of non-normative bodies into public space, and made the study of disability a central component (alongside gender, race, sexuality, and class) in analyses of the culture wars and identity studies.

To honor this remarkable legacy, the University of Michigan Press and the University of Michigan Department of English Language and Literature established The Tobin Siebers Prize for Disability Studies in the Humanities. Reflecting the scholar’s work the prize commemorates, the competition invites submissions on a wide range of topics, from literary and cultural studies, to trans-historical research, to contributions to disability theory such as work in crip/queer studies.

Books Mentioned In This Post

Cripping Girlhood

Foucault and Feminist Philosophy of Disability

Vitality Politics

Embodied Archive

Monstrous Kinds

Disability Theory

War on Autism

Disability Aesthetics

Millions of Suns Writing Contest Winners

Is a Cover Letter Necessary in 2024?

Published: April 03, 2024

Writing a cover letter can be daunting.

I’ll never forget my college career coach, who made writing a cover letter look easy. Even with her tips, I’ve always found it incredibly difficult to talk about myself and hype up my accomplishments.

While it acts as a letter of introduction, I’ve wondered if a cover letter is necessary in 2024. To find out, I spoke with two recruiters and gained insights on how to write the best cover letter for any job application.

How important is a cover letter?

Is a cover letter necessary, when to skip a cover letter, when to include a cover letter, tips for writing a cover letter, what if the cover letter is optional.

Cover letters are short letters of introduction that you include with job applications.

Typically, they are your chance to go into deeper details about your accomplishments that you might not have highlighted or had room to mention on your resume.

Tiffany Hall, a professional resume writer and founder of Resume911 , says cover letters are an important part of the job application process.

Hall says, “Cover letters can be very important. It’s supposed to sell why you, of all applicants, should get the job. The issue is that applicants use them to regurgitate what’s on their resume, and that’s not what it’s for. It should speak to what isn’t easily explained with your resume.”

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For example, if your resume says you’re skilled at building web pages, your cover letter is a great place to name-drop companies that you’ve worked for to create their websites.

Matthew Muehleisen, a corporate recruiter , thinks a cover letter is also a great place to show you’ve done your homework and researched a company.

Muehleisen says, “It can be what sets you apart from other candidates and applicants and is a good opportunity to show that you’ve done research on the position and company to further showcase your interest in the role.”

Knowing the importance of a cover letter still begs the question: Is a cover letter necessary in 2024?

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While a cover letter can help demonstrate your knowledge of the company you’re applying to and highlight more of your achievements, both Hall and Muehleisen agree that a cover letter isn’t entirely necessary.

Muehleisen says, “Unless it’s a requirement of the application, I wouldn’t say it’s necessary to include a cover letter. There are some roles (usually in content creation and marketing) that will ask for a cover letter as a form of a writing sample. In these instances, make sure your letter is polished and focused.”

If Hall had her way, she would eliminate the cover letter entirely, focus more on the resume, and ask for a link to an applicant’s LinkedIn profile.

According to Hall, “Most cover letters either repeat the resume or they speak to why the applicant isn’t a good fit. Neither is the purpose of a cover letter.”

Nevertheless, 74% of hiring managers still prefer applications to include a cover letter. So, it is definitely worth considering including one — even if the application says it’s optional.

If you’re looking for a new role, writing a cover letter can be time-consuming — especially if you take the time to personalize every letter you send to a hiring manager.

Although a cover letter does serve a legitimate purpose, and 83% of hiring managers read it, there are a few situations where you shouldn’t include a cover letter. Let’s take a look at those scenarios.

If You Only Have a Template of a Cover Letter

I get it. Writing an effective cover letter takes a significant amount of time.

But consider not sending one if you only have time to plug your information into a cover letter template without personalizing it before hitting submit on an application.

Don’t get me wrong. A cover letter template is a great starting point to write your cover letter. Templates often remind you to include pertinent information like the hiring manager’s title, name, and your contact information.

However, if you don’t take the time to edit the body of the cover letter and personalize it with research and your relevant experience, you risk sending the same letter as another candidate.

And considering that 48% of hiring managers spend anywhere from 30 seconds to two full minutes reading each cover letter, the chances are high that your hiring manager can spot a form letter a mile away.

Don’t send it if you don’t have the time to personalize a cover letter.

If Your Cover Letter Is Full of Critique

A cover letter is meant to explain why you’re the best candidate for the open position. However, a cover letter is not a place for you to share your ideas of how the company can improve.

Sure, every company likely has areas of improvement, and the job you’re applying for might be the role that gets a say in that, but a list of improvements might read as a critique.

You don’t want to potentially offend a hiring manager before you even get an interview. A bad cover letter can hurt a strong candidate, according to 33% of hiring managers .

Before you submit your cover letter, read through it several times to make sure it’s not a critique. If it does sound like a critique, throw it out.

If It’s Not Required

There are other instances where you shouldn’t send a cover letter. For example, if the application’s instructions specifically state that you do not need to submit a cover letter for consideration for the job.

In fact, sending a cover letter anyway can signal to the hiring manager that you don’t follow instructions. Not following instructions is also a great way to land your application in the trash bin.

The bottom line is this: If the application specifically states not to send a cover letter, don’t send it.

Of hiring managers, 74% prefer to see job applications with a cover letter apart from the resume. Knowing this, if you have the time to include a cover letter with your job application, don’t skip it.

Here are three instances when you should send a cover letter with your application.

Send a cover letter if you’re very interested in the role.

Think of your cover letter as your time to shine. Use it as a place to highlight your experiences and the qualifications that make you a great fit for the position.

Hall says, “If you can speak to why you’re a good candidate without copying your resume in paragraph form, include a cover letter.”

In other words, don’t use bullet points in your cover letter to describe your previous employment history.

Instead, talk about what you learned on the job and how your skills will help you excel in the role you’re applying for.

Send a cover letter when there’s a gap in your resume or you’re transitioning industries.

If you’re looking to transition to another industry, you should definitely include a cover letter with your application.

Speaking from personal experience, if I had only submitted a resume to my school district when I applied to be a Spanish teacher, the hiring manager would have just seen my experience in Public Health and would not have known about my skills and success in tutoring students in Spanish.

Muehleisen puts it this way, “If you’re looking to transition to a new industry or if there is a position and company you’re really excited about pursuing as an opportunity, these are the best instances to include a cover letter so that you can possibly give yourself an advantage.”

A cover letter can also help explain any gaps in your resume — especially if the gap in your employment history is beneficial to the role you’re applying for.

For example, maybe you volunteered in South America, and the role you’re applying for is for a position in Global Operations.

It never hurts to include positive, pertinent information in your cover letter.

Send a cover letter when it’s required.

The most obvious time to include a cover letter with your application is when it is required. Just like not including a cover letter when it’s not required, it shows you can follow directions.

Include a cover letter when the application asks you to submit one, which shows you can follow directions.

Plus, if the application asks for a cover letter, you can bet the hiring manager will look for it. If no cover letter is included, well, you’re sabotaging your chances of getting an interview.

Only 13% of hiring managers will consider giving a candidate an interview if they don’t attach a required cover letter to an application.

Writing a cover letter is not as painful as it sounds. There are great templates you can use as a starting point for your cover letter.

The trick with a template, though, is to make sure you always personalize the letter to your own experiences and qualifications.

Here are five expert tips to write a winning cover letter.

1. Tailor your cover letter to the job description.

When writing a cover letter, especially if you use a cover letter template, you should tailor the letter to match the job description and meet the requirements of the application.

For example, if the application asks you to attach a short cover letter, keep it brief. Your best bet is one to two short paragraphs detailing why you’re a great fit for the position.

You’ll also want to reference keywords from the job description in your cover letter. Many recruiters use applicant tracking systems that scan application packets for the best fit.

Often, hiring managers review the applications that match the keywords first.

Now, that doesn’t mean to stuff your cover letter with keywords. Instead, use them in a natural way as you discuss your qualifications.

2. Be personable with your greeting.

You might have seen the advice telling you to use “To Whom It May Concern” instead of the hiring manager’s name. This is good advice, but only if you do not know the hiring manager.

Before resorting to a generic greeting to start your cover letter, take the time to look on the company’s website and LinkedIn to find out who makes hiring decisions.

If you have contacts in your network who are familiar with the company, ask them. Taking the time to research the hiring manager and the company shows you care about the details — a quality many hiring managers look for in a candidate!

If you’re still unsure after researching the company, consider using “Dear Sir or Madam” as your greeting.

3. Be yourself.

While a cover letter is a formal introduction of yourself to a potential employer, it doesn’t need to be lacking in personality. Hall suggests sprinkling your personality in your cover letter to spark connections with the hiring manager.

Hall says, “Be your best professional self. I’m a foodie and will include references to food on my LinkedIn, and I’ve done it in a cover letter. I’ve had managers reference them, and we had a chuckle. I am also very clear about aligning myself with companies whose mission and goals I respect and can contribute to. I make sure to speak to that in the cover letter.”

Take Hall’s advice. Showcasing your vibrant personality in your cover letter can help break the ice in your interview!

4. Proofread your cover letter.

Once you’ve written your cover letter and before you hit “send,” double-check that it is free from spelling and grammar errors and that the company you referenced is the company you are applying to.

Muehleisen says skipping proofreading your cover letter is a big mistake — and it could cost you the job!

Muehleisen says, “Make sure that you are proofreading prior to sending. If the cover letter feels like it is a simple cut/paste or if the job title and company name are incorrect, it may do more harm than good. So, be sure that what you’re sending is pertinent.”

5. Be cautious of AI.

AI tools, like ChatGPT or Claude, are great for helping draft content. You might be tempted to ask generative AI to write your cover letter for you. However, both Hall and Muehleisen say to proceed with caution when it comes to AI.

Hall says, “AI is coming along in amazing ways, so it may come as a surprise that my best tip didn’t include AI. I tell my clients when they’re stuck to look to their peers. You can search people by job title on LinkedIn. See how they describe themselves and pull from there. Or, hire a resume writer or career strategist to help you.”

Muehleisen agrees with her. He says, “I would hesitate to use a tool or service for a cover letter as the point should be to show your authenticity. If you are going to use AI for assistance, make sure to put your own words in as well.”

However, when you write your cover letter, whether using a template or generative AI, personalizing it is key to standing out from the competition.

If the job description says a cover letter is optional, should you send one, or can you get by without it?

That can be tricky, considering 72% of recruiters still expect a cover, even if it’s optional.

According to Muehleisen, sending a cover letter is not a bad idea. He says, “I’ve never heard of a cover letter hurting an applicant’s chances; just make sure the one you’re including is specific to the job description and posting.”

Check out these cover letter examples for more inspiration.

Experiment With Your Cover Letters

Writing a cover letter is a breeze once you get the hang of it. With today’s challenging job market, sending a cover letter with your application can make a difference in whether you get called for an interview.

I can’t make promises that your cover letter will dazzle hiring managers each time, but for the right position for you, it will.

Remember Hall and Muehleisen’s advice when you craft your cover letter. Personalization is key to success!

Don't forget to share this post!

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ICE SPICE's First LP

From debuts to do-overs, what it means to start an artistic life — at any age

Letter From the Editor

Clockwise from top left: Ice Spice, Sky Lakota-Lynch, Meg Stalter, Tyla, Sarah Pidgeon and Titus Kaphar.

T’s Culture issue looks at artistic beginnings in all their forms.

By Hanya Yanagihara

The First Stroke

Artemisia Gentileschi’s “Susanna and the Elders” (1610).

Why, even as they progress in their practices, all artists remain perpetual beginners.

By Aatish Taseer

Tracy Chapman (right).

Lester Cohen/Getty Images

Musicians, writers and others on the work that started it all for them — and on what, if anything, they’d change about it now.

Interviews by Lovia Gyarkye and Nicole Acheampong

When These Two First Worked Together

Marc Jacobs and Cindy Sherman.

Love, spats, splits and enduring affinity: creative partnerships that have stood the test of time.

Interviews by Ella Riley-Adams, Nick Haramis, Nicole Acheampong, Julia Halperin and Coco Romack

Begin Again

Jordi Roca.

Video by Anna Bosch Miralpeix

What it’s like to make new art after many years or amid new challenges — or to change careers completely.

Interviews by Michael Snyder, M.H. Miller and Emily Lordi

When the Beginning Is Also the End

Miguel Adrover.

Catarina Osório de Castro

People who found great creative success in one field — before life took them in a totally different direction.

By John Wogan and M.H. Miller

J u v e n i l i a

Do Ho Suh’s “Tiger Mask” (1971).

Courtesy of the artist © Do Ho Suh

What artists see when they look back at work they made in their youth.

Interviews by Julia Halperin, Kate Guadagnino and Juan A. Ramírez

A first album, a first restaurant, a first time on Broadway: Ten debuts happening right now.

Interviews by Juan A. Ramírez and Emily Lordi

How It Begins

Jenny Holzer.

Photographs by Nicholas Calcott

The very first steps, whether you’re an actor getting into character or an artist presenting the survey of your life’s work.

Interviews by Laura May Todd

The Beginners’ Hall of Fame

Tabboo!’s “Lavender Garden” (2023).

Courtesy of the artist, Karma and Gordon Robichaux

Six people who found a new creative calling later in life — or for whom recognition was long overdue.

By Jason Chen

Advice on Beginning

Kim Gordon.

Laura Levine/Corbis, via Getty Images

Ten creative minds on how to start, pivot and productively procrastinate.

Interviews by Kate Guadagnino

Courtesy of Joseph Dirand Architecture

We asked 80 artists and other creative people to tell us what they’re starting right now or hope to start very soon.

T’s Culture Issue: Beginners.

An exploration of artistic beginnings in all their forms.

There’s a reason all of us — magazine editors in particular, perhaps, but not only us — love an artistic debut. It’s not just that those releasing their first album, book or movie, or having their first gallery exhibit or Broadway show, are usually young; it’s that they embody that most delicious and evanescent of qualities: promise. Any painter could be the next Rothko or Basquiat; any singer could be the next Joni or Aretha. There the new artist sits, poised between our expectations and their unwritten reality. Becoming emotionally invested in an untested creative life is like becoming financially invested in an exciting new company — should they (or it) work, the reward is not just theirs but ours. “See?” we tell ourselves. “We knew it all along.”

But the real test of being an artist isn’t the first album, book, movie or Broadway show, as significant as those accomplishments are. It’s what happens after. All artists know that living a true creative life means facing an endless series of beginnings: It’s starting over after setbacks; it’s pushing forward through doubt and despair; it’s trying again when someone tells you no; it’s slogging ahead when no one seems to like or care about what you make; it’s ignoring the voice inside you that tells you to stop; it’s striving and failing, again and again and again. There is no point of complete security, no award or recognition that bestows total confidence — a life in art means that, to some degree, you’re starting anew every day. As the novelist Andrew Holleran tells T, “Writing is basically unconscious, and you don’t get any smarter about it. Imagine a brain surgeon who didn’t learn from each operation? We’d be horrified. But when you sit down to write, you’re always wondering how to do it.”

On the covers, clockwise from top left: ICE SPICE wears a Burberry dress, $2,290, burberry.com ; Graff necklace, price on request, graff.com ; and her own earrings and ring. Photographed by Shikeith. Styled by Ian Bradley. Makeup by Karina Milan at the Wall Group. SKY LAKOTA-LYNCH wears a Canali coat, $3,060, canali.com ; and a Bode jacket, $1,080, bode.com . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tsuki at Streeters. Makeup by Jamal Scott for YSL Beauty. MEG STALTER . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tiago Goya at Home Agency using Oribe. Makeup by Holly Silius at R3-MGMT. TYLA wears a Ferragamo top, $1,190, and earrings, $730, ferragamo.com . Photographed by Shikeith. Styled by Sasha Kelly. Hair by Christina “Tina” Trammell. Makeup by Jamal Scott for YSL Beauty. SARAH PIDGEON wears a Gucci dress, $24,500, gucci.com . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tsuki at Streeters. Makeup by Jamal Scott for YSL Beauty. TITUS KAPHAR wears a Saint Laurent by Anthony Vaccarello coat, $4,900, ysl.com . Photographed by Shikeith. Styled by Delphine Danhier. Hair by Tsuki at Streeters. Makeup by Jamal Scott for YSL Beauty.

In this issue, we look at what it means for an artist to begin, from actual debuts (such as Sky Lakota-Lynch, one of our cover stars, who’s appearing this spring in “The Outsiders,” his first original Broadway role) to do-overs (such as Jon Bon Jovi, about to embark on tour after throat surgery and a 40-year career, or the cabaret performer turned visual artist Justin Vivian Bond). And though the artists who appear in these pages are all different, they share a spirit of generosity: It’s no easy thing to give voice to your dreams and insecurities, much less to do so publicly. Their collective perseverance — a mix of dogged determination and wild hope — is a reminder for all of us that a creative life, that all life, takes nerve. It takes humility. It takes a kind of arrogance that sees you through the most barren periods.

And by the way: You don’t need to be young to lead a creative life. All you have to do is start. Start — and then never stop.

On March 12, as we were readying this issue to go to press, one of our colleagues, Carter Love, T’s senior photography editor, died. He was 41.

Being a good photo editor demands taste and a sense of coordination. For a fashion or celebrity shoot, they, along with the creative director and style director, assemble teams: the photographer, of course, but also the stylist, models, hair and makeup artists and set designers. For a travel story, the photo editor selects and hires the fixer, the photographer, the location scout, the translator and the transportation. Once on set, a photo editor stays until the very end of the shoot, even if the shoot goes all day. Carter worked on these — and many other — kinds of stories, often simultaneously; in this issue alone, he produced a dozen images, from the portrait of the longtime collaborators Cindy Sherman and Marc Jacobs to the picture of the fashion designer turned photographer Miguel Adrover.

Along with his native senses of taste and coordination, Carter was — crucially — able to laugh at the absurdities, the unexpected little (and not-so-little) disasters that inevitably arise during a shoot, no matter how thorough the planning: rain on a day when sun was predicted; equipment stuck in customs; a subject’s last-minute cancellation. He had a big laugh, resonant and full, which everyone in the office could hear; at work parties, he sometimes broke into song. In addition to his big laugh, he had a big voice. He was tall and wiry and quick moving, with magnificent red hair — I’d often look up from my desk and see his head and torso streaking across the top of the cubicle walls, hurrying off somewhere.

One of Carter’s most used phrases was “absolutely.” Could I see more options from this shoot? “Absolutely.” Could I have a list of the talent that had already confirmed? “Absolutely.” Thanks, Carter, for this new information. “Absolutely.”

Barely a week after his death, that word keeps beating in my head. Will we always ask ourselves why he had to die? Absolutely. Were we lucky to work with him? Absolutely. Will we miss him? Absolutely. Absolutely. Absolutely.

Digital production and design: Danny DeBelius, Amy Fang, Chris Littlewood, Coco Romack, Carla Valdivia Nakatani and Jamie Sims.

ONE EVENING 17 years ago, V.S. Naipaul came to dinner at my flat in Delhi. The writer, who had become something of a mentor to me, was transfixed by a painting I had bought a few years before. It was a self-portrait, over 7 feet tall and 5 feet wide. “I find it hypnotic,” Naipaul said, filing away spoonfuls of yellow dal. Observing the beauty of the hand clasped (as if in horror) over the mouth, the thumb livid against the dark hollows of the eyes, he added of the artist, “This is someone who has really seen, who has gone back again and again to see.”

Listen to this article, read by Neil Shah

I was at the beginning of my writing career, using my first advances to collect a few works of art. It was thrilling to have someone with as discerning an eye as Naipaul’s — “the brilliant noticer,” in the words of the literary critic James Wood — approve of “How Did You Sleep?” (2002), but it also made me sad. Its creator, Zack, who’d been a close friend at Amherst College in Massachusetts in the late 1990s, had recently given up painting, and “How Did You Sleep?” had become a symbol to me of the precarity of what it means to get started as an artist.

The Italian artist Artemisia Gentileschi was 17 in 1610 when she painted “Susanna and the Elders” (above). She went on to be the 17th century’s most accomplished female painter.

Zack, now 43, was of a mixed-race background from Topeka, Kan. After struggling with feelings of inferiority in our first year related to his public school education, he taught himself to paint from scratch. I would visit him and watch as he, dressed in paint-stained khakis and New Balance sneakers, toiled away at the self-portraits that were his trademark. He was a model to me of artistic labor and discipline, even if those early paintings were painfully amateurish.

Then, in our last semester, having been abroad a while, I entered Fayerweather Hall for the art department’s end-of-year show and saw “How Did You Sleep?” I was dumbstruck. I’m not sure I would’ve even been able to recognize it as Zack’s work — so prodigious had been his development as a painter — if it hadn’t been a self-portrait. Painted in the wake of 9/11, it showed the artist in a blue shirt with an expression of prophetic terror, as if watching a disaster foretold. I remember wanting to own it because it was proof, like none I had ever had before, that there really did exist such a thing in the world as raw talent. I persuaded Zack to sell it to me. The painting followed me from Amherst to my first job in New York, and on to London and Delhi.

By the time Naipaul saw it, Zack was working in strategic and financial communications in New York and no longer painting — “Every notary bears within him the debris of a poet,” Gustave Flaubert tells us. “My new job is intense,” Zack had written to say. “It’ll be good for a few years, but it’s not a career.” But neither was art; and Zack, who works as a researcher at Google now, was my first fearful example of how that mythical thing we call talent is real, and how talent alone isn’t enough.

IT WASN’T MY intention to start an essay about artistic beginnings with a story of artistic death. I love those romantic tales of creative daring and breakthrough: the English travel writer and novelist Bruce Chatwin quitting his job at The Sunday Times of London’s magazine with a simple telegram that read, “Have gone to Patagonia”; or, more dramatically, Paul Gauguin abandoning his wife, kids and job as a salesman to pursue his dream of being a painter. I love the improbability of the lives that could not have been: Salman Rushdie, the adman; W. Somerset Maugham, the doctor; the director Kathryn Bigelow, renovating dilapidated apartments in New York with the then-obscure composer Philip Glass. I remember Arundhati Roy teaching my mother and aunt aerobics in the basement of the Taj Palace Hotel in New Delhi before going on to win the Booker Prize for her debut novel, “The God of Small Things” (1997). It’s exhilarating to see destiny pick those who could but only have been artists out of the mundanity of their lives and light the way to a life of vocation.

I’m especially moved by those first moments of validation by which an artist comes out to himself, as it were. Consider Joseph Conrad in his mid-30s, working aboard the ship Torrens, with the manuscript of his first novel, “Almayer’s Folly” (1895). It had acquired, he writes in “A Personal Record” (1912), “a faded look and an ancient, yellowish complexion.” At sea, Conrad met his first reader, Jacques, a “young Cambridge man.” “Well, what do you say?” Conrad, brimming with anxiety, asked his new friend. “Is it worth finishing?” “ ‘Distinctly,’ he answered, in his sedate, veiled voice,” Conrad recalls years later, “and then coughed a little.” With that one word, Jacques, who was soon to be carried away by a fatal cold, had given a seafaring Polish exile a vital nod of encouragement. “The purpose instilled into me by his simple and final ‘Distinctly,’” writes Conrad, one of literature’s late bloomers (he was 38 when he published his first novel), “remained dormant, yet alive to await its opportunity.”

This quiet admission to oneself, as sacred as the vows of priesthood, of wanting to undertake the creative life is a necessary step; but like talent, it’s not enough. To be an artist is not a private act but a public one. No artist is born into a vacuum, or later speaks into one. They are as much a product of the society they emerge from as a response to it. Nor is artistic expression all spirit, all feeling. As Naipaul has frequently noted, writers require a complex edifice of interlocking parts — an infrastructure, if you will — to thrive. More broadly speaking, all successful artists rely on a network of critics, journals and newspapers, a discerning audience, bookshops and concert halls and galleries — which is generations in the making, presupposing certain values, certain economic and political realities. The Ukrainian-born novelist Clarice Lispector came of age in the Brazil of the 1920s. At 13, she “consciously claimed the desire to write,” as her biographer Benjamin Moser quotes her in “Why This World” (2009), but no sooner had she claimed her destiny than she felt herself in a void. The idea of vocation had been instilled in her, but that didn’t mean she knew how to proceed. “Writing was always difficult for me,” Lispector once wrote, “even though I had begun with what is known as vocation. Vocation is different from talent. One can have vocation and not talent; one can be called and not know how to go.”

Lispector had both vocation and talent, but what makes any artist’s first steps so tentative is that the path forward is narrower than we imagine. We come into the world believing we can be a great many things (and for a great many this is true) but, for those destined to be artists, the creative choices they make are almost as limited as the choice of being an artist itself. Maugham wanted to demystify the impulse that had him give up medicine to answer his calling as a novelist. “I am a writer as I might have been a doctor or a lawyer,” he writes in “The Summing Up,” his 1938 literary memoir, but, soon after that, despite himself, Maugham stumbles on that aspect of the artistic life that eludes banalization, for it’s truly mysterious — namely, the bond between the artist and his subject. “Though the whole world,” writes Maugham, “with everyone in it and all its sights and events, is your material, you yourself can only deal with what corresponds to some secret spring in your own nature.” 

“Vanitas Still Life” (circa 1665-70) by Jan van Kessel the Elder, who was from a long line of celebrated Flemish painters — Pieter Bruegel the Elder was his great-grandfather — and was perhaps destined to be an artist.

It’s this, the inexorability of the correspondence between an artist and the world, that gives those first steps their magical quality. It represents a rebirth so profound that it can often entail the killing off of a former self. One of my literary heroes, the writer Rebecca West — the author of that magisterial work of travel, inquiry and sympathy “Black Lamb and Grey Falcon: A Journey Through Yugoslavia” (1940) — was abandoned (as I was) by her father as a child. In late Victorian England, it left her with an exaggerated regard for what were seen as male qualities, as well as the need to compensate for their absence. “Men, she felt,” writes J.R. Hammond in “H.G. Wells and Rebecca West” (1991), his biography of their romantic and literary relationship, “should be strong and dependable; deep inside herself she sensed they were not to be trusted.” These gendered dynamics were surely at work as West, first making her way in the world at age 20, sloughed off the softer given name of Cissie Fairfield to adopt, as a pseudonym, the name of the spirited protagonist of Henrik Ibsen’s play “Rosmersholm” (1886).

No artist is without this set of special circumstances. They are the ground from which the need for expression arises. The path forward comes upon the artist-in-waiting with the power of certain mathematical proofs, elegant, inevitable, at once simple and inscrutable. “Falling in love for the first time and getting started as a writer,” my friend the writer Karan Mahajan, 39, the author of the novels “Family Planning” (2008) and “The Association of Small Bombs” (2016), replied by email when I asked him what it had been like for him, “both things happened at once for me. Suddenly, I had my material, and it encompassed all aspects of my life: my childhood in Delhi; immigration to the United States as a student; a future decided by plane journeys. I could love myself as the other loved me.”

For the Pakistani-born American painter Salman Toor, 40, the moment when, he says, “something vital clicked into place” meant that he suddenly found himself in “a direct relationship” between the things he was thinking and talking about every day and the paintings he was at work on. “In 2016,” he says, “I did a few paintings out of a need to be completely honest with myself. I wanted to illustrate the stories I was bursting to tell. A lot of these stories were about coming out and showing the excitement, anxieties and challenges of belonging to multiple cultures and living a cute little life in the East Village.”

The date surprised me. I had been aware of Toor’s work for almost a decade before this moment. To me, he was the painter of a certain kind of South Asian disquiet. No one captured the massive cultural and economic disparities of my life in Delhi (and his in Lahore) like Toor. Upon scenes of revelry and privilege — a party, a picnic, a rich westernized couple frolicking out of doors with a glass of wine and an iPhone — he would, in the form of servants in the background looking on, introduce an element of unease that hinted at the fragility of the societies we lived in. But quite unbeknown to me, Toor’s life in New York had opened up a new vein of material. To put it another way, he had begun again. And this is what we tend to forget: In the careers of certain artists, those who make big, varied bodies of work in which different strands of their experience are subsumed, the business of beginning, and beginning again, never ceases. Each new beginning brings with it all the uncertainty and blankness of the first. Experience might protect such an artist from forcing what’s clearly not working, but that core anxiety of not knowing if one will create again always remains. “Do not worry,” Hemingway would console himself, “you have always written before and you will write now.”

WHAT CONSTITUTES A beginning? In the common conception, it’s the first book, the first album, the first show at a major gallery. Yet an artist has myriad private ways in which they mark moments of true breakthrough. My childhood friend the sitarist and composer Anoushka Shankar, 42, regards her fourth album as her first. She had grown up under the influence of her mighty father, Ravi Shankar, the man credited with having introduced Indian classical music to the West. Every artist struggles with what the literary critic Harold Bloom has called the anxiety of influence but, in Anoushka’s case, it was even more pronounced. As she told me, Ravi Shankar was “my guru, my teacher, my father.” It was he who had composed her first three albums.

Ravi, before he went on to become the greatest sitarist of his generation, had been part of a dance troupe led by his brother Uday, which caused a sensation in the Europe and America of the 1930s. “Hindu thought, alive, authentic, in flesh and bone, in sound, gesture and spirit,” is how the French mystic René Daumal describes the Shankar troupe in his book “Rasa” (1982), but Ravi was conflicted. He eventually broke with the troupe and dedicated himself entirely to the sitar. “He had a real directional shift that I didn’t have,” Anoushka says. Her beginnings, though she was six decades younger than her father, were in a sense more traditional. They entailed the surprise of finding newness within tradition. “I think my journey,” she says, “was more progressively finding how the thing that was in front of me — the sitar, namely — the thing that had been given to me, could be my outlet, could be my voice.” 

A coda to this intergenerational tale of artistic beginnings is the story of Anoushka’s half sister, Norah Jones, who spent years of her childhood estranged from her father and grew up in Texas with her American mother. At a time when both Anoushka and I were discovering our half siblings, I remember going to see Norah play at little-known clubs on the Lower East Side of Manhattan. She was staking claim to what felt like a genetic destiny in music, though in a tradition entirely different from that of her father and sister. I don’t know if I’ve ever witnessed beginnings as meager and transformational as these for, not long after, Norah’s debut album, “Come Away With Me” (2002), was released; it went on to win five Grammys, sell 30 million copies and all but save the piracy-shattered music industry.

We live in a society that prizes the individual above all else but, in the art of premodern Europe and classical India, to begin as an artist didn’t necessarily entail breaking with tradition, nor was it given to every artist to be original. “Raphael was adept at this,” writes Rachel Cusk in her travel memoir “The Last Supper: A Summer in Italy” (2009), in which she describes the Italian Renaissance painter’s relationship to his first guru, Perugino. Raphael had become so good at imitating Perugino, Cusk tells us, that the copies of his master’s work were indistinguishable from the originals. The art of pastiche, of inhaling the influence of an older admired artist so completely that it enters your soul, exists today, too. The South African writer J.M. Coetzee’s early works owe a huge debt to Samuel Beckett, as Rushdie’s do to Gabriel García Márquez and Thomas Pynchon’s to James Joyce. The difference in the modern era is that influence is something we must shrug off in order to become our own people, yet not everyone can. Cusk deals very movingly with Raphael’s quest (and ultimate failure) to be his own man. In a field crowded with giants such as Michelangelo and Leonardo da Vinci, he “retreated behind the mask of humility, never to come out again.” But far from this being his downfall as an artist, it, too, was a kind of beginning. “In the end,” writes Cusk, “his borrowing of such greatness amounted to greatness itself. Not everyone who sees a Michelangelo can go off and paint a Michelangelo.”

THERE ARE SO many ways to begin. I said it wasn’t my intention to open with a story of artistic death, but I never explained why I did. The reason is that after six books, and 20 years after writing my first publishable sentences, stamina, endurance and the ability to stay the course have come to mean at least as much to me as that first raw efflorescence of talent. If Zack’s story acquired the force of parable for me, it was because it showed me the vanity of our preoccupation with talent. Many with fewer gifts who are yet more steadfast go on to have brilliant careers as artists. There’s an undeniable mystery in why some among us become artists, but there’s a greater mystery to me still in those who survive the vicissitudes of creative life, leaving behind bodies of work through which there runs an arc of growth as sublime as the vaulting of a Gothic cathedral.

A true artist always brings something new into the world. A new color, a new complexion, a new way of looking — a “new kind of beauty,” to use Marcel Proust’s phrase for the special distinctiveness he felt that Fyodor Dostoyevsky had brought to literature. We make the mistake of thinking of that newness as an externality, a scaffolding, a mere matter of style. But in fact, the originality we detect on the surface is an emanation from the birth of a new idea. It’s something far more radical, far more unnerving, than we are prepared to accept. Real artists bring about real rupture. We want to domesticate the discomfort that makes us feel but, deep down, we know the old rules no longer apply; and for one fleeting moment, our world, with us in it, is laid bare, transfigured by the imagination of someone who has dared to see it anew.

Read by Neil Shah. Narration produced by Emma Kehlbeck. Engineered by Quinton Kamara

Amy Tan , 72, writer, on “The Joy Luck Club” (1989)

Tan with her mother, Daisy Tan, in San Francisco in 1989. The author’s 11th book, “The Backyard Bird Chronicles,” a collection of illustrated essays, is out this month.

Robert Foothorap

I was a business writer [of marketing materials for companies and brochures for their employees] in the mid-1980s and, even though I was successful, I was unhappy. I wasn’t doing anything meaningful. Writing fiction allowed me, through subterfuge, to access emotional realms that I hadn’t explored before. When you write your first novel, you tend to include a lot of autobiographical elements. “The Joy Luck Club” [about the lives of four Chinese immigrant women and their American-born daughters] became deeply personal without my knowing it. I wasn’t consciously writing about racism or generational divides, even though that’s exactly what I was writing about. At that time [Tan was 37 when the book came out], I was just trying to find a story.

Courtesy of Putnam © 1989 Gretchen Schields. Photo by Joshua Scott

People got all kinds of things out of it. They said it saved their marriage or helped their relationships. I felt wonderful about that, but I couldn’t take credit. I didn’t intend to write a book that was going to improve people’s lives. That would’ve been a noble pursuit but, to do that, I’d have had to come up with a book that was very different — less spontaneous and honest. Without a doubt, what made me proudest was that my mother read it. She wasn’t proficient in English, but she understood it more than anybody else. — L.G.

Avril Lavigne , 39, musician, on “Let Go” (2002)

Lavigne at a recording studio in Cologne, Germany, in 2002. The musician’s new tour, “Avril Lavigne: The Greatest Hits,” begins next month.

Fryderyk Gabowicz/Picture Alliance/Getty Images

I remember going into the studio and people trying to tell me what to do or how my music should be, but I knew what I wanted to create. “Let Go” reflects how I felt as a young girl coming into the music industry. I was 15 when I got signed and 16 when I made that album. I had all this angst and rebellion, and I wanted to be expressive in that tone. But the adults around me kept delivering cheesy song ideas, and I wasn’t feeling the way people were playing the guitar. It was all too light and fluffy; that’s the stuff that made me run.

Courtesy of Sony Music Entertainment and Avril Lavigne

When I went to Los Angeles and connected with [the album’s co-writers Lauren Christy, Graham Edwards and Scott Spock of] the Matrix and Clif Magness, they were way cooler and more open-minded. Lauren and I spent a lot of time together. I sat with her in the backyard on a picnic blanket writing “Complicated”; we really connected. I was finally understood. The production was a little poppy for me. If I had to redo the album today, I’d tweak some things here and there production-wise and apply some of my experience from the past 20 years. Still, the important songs like “Sk8er Boi” and “Complicated” rocked enough — they had the live guitar and drums — and “I’m With You” wasn’t too polished. On songs like “Unwanted” and “Losing Grip,” we really went all the way — no holding back. — L.G.

Chloë Sevigny , 49, actress, on “Kids” (1995)

Sevigny at the Jersey Shore in 1995. The actress, who has appeared in over 50 features, recently shot “Bonjour Tristesse,” an upcoming adaptation of the 1954 Françoise Sagan novel.

From left: Lila Lee-Morrison; © Shining Excalibur Pictures/courtesy of Everett Collection

© Shining Excalibur Pictures/Courtesy of Everett Collection

I still find the marketing around “Kids” [about a day in the life of some wayward New York City teenagers] a little outrageous: “The most shocking film of the year!” “A must-see!” But it worked. A lot of us making it thought of it as a cautionary tale, but so many kids have come up to me and said, “That’s why I moved to New York. I wanted to live that life.” I was an amateur [at 19, when I made the film]. I knew the cinematographer, Eric Alan Edwards. He’d shot [Gus Van Sant’s 1991 movie] “My Own Private Idaho,” and I thought the acting in that was impeccable. I trusted that if something [in my performance] was false, he’d say something. I don’t know why, but I just gave myself over to [Edwards and the director, Larry Clark]; I trusted that they wanted to get to the truth of things.

The hardest scene for me to shoot was when [my character, 15-year-old Jennie] is at the clinic receiving information that she’d contracted H.I.V. I thought, “How does one even begin to try to act that?” I was very tentative. If I were to approach that scene now, I think I’d have the confidence to try more things — one take crying, others doing this and that. At the time, I was trying to be as real as I thought I could be on camera with a crew around me.

I’m surprised that “Kids” is still making such an impact, but I’m also not. Afterward, I thought, “OK, this set a bar. These are the kinds of people I want to work with.” — N.A.

King, the author of over 70 books, with his wife, Tabitha, and their children (from left) Joe, Owen and Naomi at their house in Orrington, Maine, in 1979. His next book, a short-story collection titled “You Like It Darker,” will be published in May.

James Leonard

Stephen King , 76, writer, on “Carrie” (1974)

One of my rules about writing is similar to a rule in [the card game] Hearts: If it’s laid, it’s played. I have a tendency not to go back and reread things, particularly with “Carrie” [a horror novel about a bullied high school student capable of telekinesis]. I’m afraid of how naïve it may be, how much it might be the work of a very young writer. It’s like when you’re a kid and you don’t know how to behave. You look back on certain things and say, “I shouldn’t have grabbed that,” or, “That wasn’t polite.” I don’t want to go back and see that my shirttail was untucked or my fly was unzipped.

Courtesy of Doubleday. Photo by Joshua Scott

I’d change a lot. It would have a little more depth when it came to the characters. Remember, it started as a short story. I had this idea about a girl with paranormal powers who was going to get revenge on the girls who made fun of her. It was too long for the markets that I had in mind, and I didn’t know very much about girls anyway, particularly girls’ gym classes and locker rooms, so I threw the story away. My wife fished it out of the trash, uncrumpled the pages, looked at it and said, “This is pretty good. I’ll help you.” It’s a very short book, way under 300 pages. Also, there are pejoratives that were common then that I wouldn’t use now, even though they’re realistic and come out of the mouths of characters we don’t like. On the whole, I must’ve done a fairly good job because the book was published [when I was 26] and [in 1976] they made a movie out of it.

One of the things I think about a lot was that my mother got to read it. She had cancer at that point and died before any of my other books were published. Because of “Carrie,” I had a chance to take care of her and get her in a hospice. By then we had the money, otherwise we would’ve been out of luck. — L.G.

Holleran in Florida in the 1980s. Three of the author’s five novels, including “Dancer From the Dance,” were republished in paperback this past December.

From left: Lee Calvin Yeomans, courtesy of Andrew Holleran; Ian Dickson/Shutterstock

Ian Dickson/Shutterstock

Andrew Holleran , 79, writer, on “Dancer From the Dance” (1978)

“Dancer” has had a life of its own, which I could’ve never predicted. I wrote the book at my parents’ house in Florida one winter [when I was 33]. It was going to be the last book I ever wrote, because I’d been writing for 10 years after graduating from an M.F.A. program and had only had one story published in a magazine. I said to myself, “You have to stop now and go to law school.” Luckily, the book came out of me very quickly and, in retrospect, became a description of six years I’d spent in New York. It was very easy because I’d obviously touched something that mattered to me.

I’ve never reread “Dancer” [about gay life in 1970s New York] so, while I’m sure that if I did, I’d revise, revise, revise, I can’t imagine changing any of it. The campy style of the letters that frame the book is probably outdated, which is a shame since I love camp.

I’ve learned since then that writing is basically unconscious, and you don’t get any smarter about it. Imagine a brain surgeon who didn’t learn from each operation? We’d be horrified. But when you sit down to write, you’re always wondering how to do it. — L.G.

Harry and Stein, of the rock band Blondie, in the U.K. in 1977. Stein’s memoir, “Under a Rock,” will be published in June.

From left: Jeff Gilbert/Alamy Stock Photo; CBW/Alamy Stock Photo

CBW/Alamy Stock Photo

Debbie Harry , 78, and Chris Stein , 74, musicians, on “Blondie” (1976)

Debbie Harry: We recorded “Blondie” [when Harry was 30 and Stein was 25] in a studio used by jazz musicians, and there wasn’t a lot of fancy recording technique. It was a different era. I think the fact that the album wasn’t overproduced gives it a kind of timelessness. We still perform some of those songs. Every once in a while, we drag up “X Offender” and “Rip Her to Shreds.”

Our music wasn’t just about one style or sound; we had songs that expressed different feelings and attitudes in music. A lot of things, like “Man Overboard” [a danceable heartbreak track], we really didn’t pull off the way I think Chris wanted to, but it’s there.

Chris Stein: That song would’ve worked fantastic with a dembow beat [but I wasn’t introduced to reggaeton until years later]. If I were to change anything about the album, it’d have more to do with the production than what we were slapping on the tape. Generally, we’d just go in and do a bunch of takes, pick the best one, throw some stuff on it and that was pretty much it. There was hardly any overdubbing. We learned so much from the producer Mike Chapman a couple of years later — the difference between “Blondie” and our later albums was like night and day.

Still, I like “Blondie.” It represents how we felt at the time and what was happening to us. When I look back on it, I think of the whole downtown milieu and a period in New York that I don’t know if anyone thought we’d be talking about 50 years later. — L.G.

Smith at her mother’s home in northwest London in 2000. The author’s sixth novel, “The Fraud,” was published last year.

Courtesy of William Morrow. Photo by Joshua Scott

Zadie Smith , 48, writer, on “White Teeth” (2000)

I love the joy in my novel “White Teeth” [a multigenerational story of race and identity among the residents of London’s Willesden neighborhood], even though I haven’t picked it up in 25 years. Back then [Smith was 24 when the book came out], I was trying to write about people; I was interested in the interpersonal above all else. The people in the neighborhood I came from were always described in a manner of pathology, and I was trying to explain that we weren’t pathological. I was always writing around this kind of elephant in the room, which is what you know people have already assumed about your characters. As I’ve gotten older, I’ve had to do less of that because I’ve got company. There are so many writers from so many countries, particularly in West Africa, [that] I wanted to see as a child.

Courtesy of Penguin Random House

I’ve become more interested in power lately. I’m very aware of being like the Ancient Mariner, that the structures I’m talking about that made life not always pathological have vanished. The conditions of the characters in “White Teeth” — their decent health care, their reasonable housing, their free university education — are gone. I’m still on the side of joy, but the question is, what kind of structures allow people to experience it. As I’ve gotten older, I write about them not out of nostalgia but out of political urgency. — L.G.

Left: a mock-up of Lin’s 493-foot Vietnam Veterans Memorial. Right: Lin with her parents, Julia Chang Lin and Henry Huan Lin, at her Yale graduation in 1981. The designer’s 44th sculpture, for the Obama Presidential Center in Chicago, is scheduled to be completed next year.

Courtesy of Maya Lin (2)

Lin with her parents, Julia Chang Lin and Henry Huan Lin, at her Yale graduation in 1981. The designer’s 44th sculpture, for the Obama Presidential Center in Chicago, is scheduled to be completed next year.

Courtesy of Maya Lin

Maya Lin , 64, sculptor, on the Vietnam Veterans Memorial (1982) in Washington, D.C.

It was a battle to keep the Vietnam Veterans Memorial simple and spare. I was moved by World War I memorials built by the French and British. They offered a much more realistic and sobering look at the high price of war, which is human life. When I went to the site [of what would become the monument] on Thanksgiving break [in 1980, when I was 20 and in my junior year at Yale], I felt a need to cut the earth and open it up. The structure isn’t so much an object inserted into the earth; it’s the earth itself being polished like a geode. I considered everything, even the walkway, which was put in to intentionally separate the wall from the ground. If you put the granite sidewalk all the way up against the wall, it would no longer be a polished geode — it’d be a curb. I put grass there. But no one could have predicted how popular it would be, so people trampled the grass and it died.

A year or two after the memorial was built, unbeknown to me, the architects of record worked with [the National] Park Service to put in [Belgian blocks on either side of the granite path]. That needs to be rethought because it’s an ugly detail. They’re out of scale. It drives me crazy every time I see it. — L.G.

Chapman with the producer David Kershenbaum at a Los Angeles recording studio in 1987. The musician’s debut album will be reissued on vinyl this summer to mark its 35th anniversary.

From left: Lester Cohen/Getty Images; courtesy of Elektra Records

Courtesy of Elektra Records

Tracy Chapman , 60, musician, on “Tracy Chapman” (1988)

I had this notion when I first started writing songs that to respect the muse — or whatever source of inspiration brought me to put pen to paper — I shouldn’t do any editing. The first thing that came to me was meant to be. “Talkin’ Bout a Revolution,” which I wrote when I was 16, emerged from that mind-set. It was one of those songs that came out in one sitting. It’s a very forceful declaration.

A song like “Fast Car,” which I wrote when I was maybe 22, wasn’t a very long process, but it reflected a different strategy about songwriting. It was more about revelation, sharing a story about a person and the changes happening in their life. I made edits to “Fast Car.” I definitely changed words and lines. I’m too embarrassed to tell you exactly what, but it was the verse that starts “See, my old man’s got a problem.” Let’s just say that there was something else there.

In some ways, writing a song is about asking and answering questions: “Who is this character, why are they doing this and where is the story going?” When I was young, I thought all these questions could be answered with the first iteration of the song. I’m not as enamored with this idea that the very first thing that comes to mind is what I have to remain committed to. — L.G.

Jewel , 49, musician, on “Pieces of You” (1995)

Jewel at the musician Neil Young’s private studio in Northern California in 1994. An immersive exhibit of the singer-songwriter’s work will open at the Crystal Bridges Museum of American Art in Bentonville, Ark., in May.

Courtesy of the Jewel Kilcher Archive and Bershaw Archival Management

What’s important to me about “Pieces of You” is that I made an honest album. I liked [the writers] Charles Bukowski and Anaïs Nin because they told the truth about themselves, and it wasn’t always pretty. With my work, my goal was to be just as honest. “Pieces of You” wasn’t more developed than I was — I didn’t know how to play with a band, and I didn’t choose a producer who’d make me sound slicker or lend their experience to make me sound more polished. I wanted it to be a snapshot of who I was [between 16 and 19]: inexperienced, emotionally charged and trying to figure life out.

Courtesy of Craft Recordings and Jewel

Writing was medicine for me. I had extreme anxiety, panic attacks and agoraphobia. I wrote songs to calm myself down and to help me fall asleep at night. I never wrote them thinking I’d have a career. There wasn’t really a craft — it was more about what comforted me, what suited me, what interested me to think and write about. I was an avid reader, and a lot of my writing took after Flannery O’Connor, [John] Steinbeck and [Anton] Chekhov, like short stories put to music.

I remember writing at that age that I didn’t want my music to be my best work of art — I wanted my life to be my best work of art. I take music seriously, but I take that promise to myself more seriously. — L.G.

These interviews have been edited and condensed.

JANE FONDA AND LILY TOMLIN, ACTRESSES Have co-starred in three films and a TV show, from “9 to 5” (1980) to “80 for Brady” (2023).

Video by Kurt Collins

JANE FONDA: It was 1978, and I heard that Lily Tomlin was performing in a [one-woman] show called “Appearing Nitely” in Los Angeles. I don’t know how many characters she played, but she embodied them all so fully. I was smitten. I went backstage to meet her. At the time, I was in the process of developing “9 to 5” [the 1980 comedy about a trio of female office workers who overthrow the company’s sexist boss] and, as I was driving home, I thought, “I don’t want to be in a movie about secretaries unless Lily Tomlin is in it.”

LILY TOMLIN: She swept in backstage with a big cape on. We couldn’t believe it — this was Jane Fonda! For a couple of years, I’d worn a hairdo from “Klute” [the 1971 thriller for which Fonda won an Oscar], but I didn’t have it when she showed up that day. I was like, “Why did I drop my ‘Klute’ hairdo at this propitious time?”

J.F.: It took a good year to convince Lily and Dolly [Parton, the film’s other lead] to do the movie. It’s not that they weren’t interested, but it was very difficult. Why was it so difficult, Lily?

L.T.: I think I was that way about everything.

From left: Fonda, 86, and Tomlin, 84, photographed at Hubble Studio in Boyle Heights, Los Angeles, on Jan. 29, 2024.

Kanya Iwana

J.F.: You are that way about everything: “I don’t know if I can do this. I’m not right for the part.” You do that every time. But it was your idea to get Colin Higgins to direct and to cast Dabney Coleman [as the boss]. You should’ve been the one producing it! My only decision was to make the movie, because one of my close friends, [the former director of the U.S. Department of Labor Women’s Bureau] Karen Nussbaum, would tell me stories about organizing women office workers and what they had to go through.

L.T.: I thought I had some lines that were hitting you over the head with the joke. Yet when the movie was released, those lines got the biggest response from the audience.

J.F.: Both of us got a kick out of Dolly’s innocence. When she showed up the first day, she’d memorized the entire script. And then the day that Dolly sang —

L.T.: Oh, that was a glorious moment.

J.F.: She used her long nails like a washboard and started to sing, “Working 9 to 5. …” Lily and I looked at each other and we knew: “This is it — we’ve got an anthem.” But I think my favorite shooting experiences were when we had the dead body in the back of the car. We went to the Apple Pan [a diner in Los Angeles] because Dolly wanted to get a cheeseburger, remember?

L.T.: Everybody would tell stories about their life, and we just fell in love with each other.

J.F.: Our worlds are so different. Our backgrounds are so different. Our senses of comedy — I mean, I don’t really have one.

L.T.: Jane was so earnest. She felt so passionate about every activist problem that she was trying to solve. It was inspiring and endearing.

J.F.: Since then, we’ve done seven seasons of [the Netflix TV series] “Grace and Frankie” [which ran from 2015 to 2022]. Ten days after we wrapped, we started a movie that we both like a lot called “Moving On.” When that came out [in 2023], I was interested in the reviews — almost every one of them talked about our chemistry. And it was like, “Well, maybe we should always work together.” — E.R.A.

Fonda: Hair: Jonathan Hanousek at Exclusive Artists Management. Makeup: David Deleon at Allyson Spiegelman Management. Tomlin: Hair: Darrell Redleaf Fielder at Aim Artists Agency. Makeup: Shelley Rucker at Aim Artists Agency. On-set producer: Joy Thomas. Photo assistant: Jeremy Eric Sinclair. Digital tech: Aron Norman

MARC JACOBS, FASHION DESIGNER, AND CINDY SHERMAN, ARTIST Have collaborated on multiple projects for the Marc Jacobs brand, from a 2005 photo book to the spring 2024 campaign.

From left: Jacobs, 61, and Sherman, 70, photographed at Go Studios in Hell’s Kitchen, Manhattan, on March 5, 2024.

MARC JACOBS: In 2004, I reached out to ask if you’d [be in a Marc Jacobs campaign]. I knew your work very well, and I knew that you’d done an ad in 1984 for [the French fashion brand] Dorothée Bis. That made me think, “Maybe she’d do this with us.” I was a little intimidated about asking.

CINDY SHERMAN: I was so intimidated that you’d asked. I remember thinking, “I’m going to bring a bunch of wigs and makeup.” It was just me for a few shots, but then [the German photographer] Juergen [Teller] got playful and started putting himself in the pictures. He gradually shaved parts of his face and head. He’d started the shoot with a full head of hair and beard; by the end, he was completely bald with no facial hair at all.

M.J.: I wasn’t there, but I got calls from Juergen saying, “It’s [expletive] excellent, it’s [expletive] excellent.” He says that when he’s really excited. You created some hilarious characters. There was one where you were both older, sitting on a bench.

C.S.: Rifling through a big bag.

M.J.: That image became a billboard on Melrose [Avenue in Los Angeles]. It was great because fashion campaigns like that didn’t exist back then. Nobody would’ve ever said, “ That’s our ad,” because it wasn’t exactly selling clothes or bags. But it was exciting.

C.S.: What’s funny is that you’d asked me, a year or two ago during Covid, to do something — I don’t even remember what it was. I’d gained a bit of weight, so I was self-conscious and kept turning you down. [For the 2024 campaign I ended up doing] some of the outfits were a little tight. The people assisting me said, “We can fix that.” And I said, “No, no, it’s [perfect for] the character.” I guess I could’ve thought of someone who was trying to hide, but I decided, “No, she seems like she could just let it all hang out in her leather pants.” How do you feel when you see different types of women wearing your pieces or putting them together in unusual ways?

M.J.: It’s the ultimate validation. Of all the stuff that exists out there, they’re spending their money on something I’ve made. How about you with collectors?

C.S.: Sometimes it’s a little weird. I remember an early series of horizontal pictures that I called “The Centerfolds” (1981) — I thought they were kind of disturbing, but some collector said, “I have that one hanging over my bed because it’s so sexy.” And I’m thinking, “Ugh, I don’t want to know that.” But you can’t control what happens to a piece.

M.J.: Or what other people see in it. Feedback is part of the equation. It’s like, “I’m not just doing this for me. I need you.” — E.R.A.

Production: Prodn. Hair: Tsuki at Streeters. Makeup assistant: Nanase. Photo assistants: John Temones, Tony Jarum, Logan Khidekel

CARLOS NAZARIO, STYLIST, AND WILLY CHAVARRIA, FASHION DESIGNER Have worked together on three collections since 2022.

From left: Nazario, 36, and Chavarria, 56, photographed at Chavarria’s studio in Greenpoint, Brooklyn, on March 18, 2024.

Emiliano Granado

WILLY CHAVARRIA: Carlos and I would see each other at Calvin Klein [Nazario has styled for the brand; Chavarria was its senior vice president of design from 2021 until 2023], but our first formal meeting was lunch at the Odeon. Like Truman Capote’s swans, we had salads and talked about water and weight loss.

CARLOS NAZARIO: It wasn’t like we were meeting to discuss a project. That sort of evolved organically.

W.C.: I was terrified to ask you to work with me. I remember texting to [see] if you’d style my [fall 2023] show. Do you know what you said? “I thought you’d never ask.”

C.N.: Willy’s work spoke to me in such a profound way. There was such a similarity — if not in aesthetic, definitely in intention. A lot of brands lack depth and a soul. I’m Afro-Latino. I grew up in New York with a certain relationship to how one presents themselves to the world, what glamour means and looks like and how it’s communicated. I was always intrigued by how Willy’s designs encompassed all those things.

W.C.: [The way we collaborate] is so natural and unpretentious. We end up telling a story that we feel good about.

C.N.: Every relationship between a stylist and designer is unique. Some designers require a lot more — from research to manufacturing and the show. Others want you to come in right at the end and say, “Let’s put that on this model.” With Willy, our conversations prior to my first day were conceptual. We talked about what he wanted it to feel like, rather than what he wanted it to look like.

W.C.: For that first show together, we wanted the cast — all people of color, many of them queer and trans — to feel elevated and empowered. Marlon [Taylor-Wiles, the show’s movement director] was going to have the models look down at the guests.

C.N.: At the rehearsal, we were like, “Maybe it’s a bit creepy.” I wasn’t uncomfortable [giving my opinion] because Willy’s such an easy person to talk to. But anytime you’re coming into a space where everyone has clearly defined roles, you feel like a stepparent. You’re a bit like, “Do I discipline the daughter? Do I tell her the skirt’s too short?” I didn’t want to overstep, but I also wanted to make my presence worth it. As we got more comfortable [with each other], we got more comfortable trying things.

W.C.: The next season, we took more risks. We wanted it to feel refined and elegant, but we also wanted to inject a youthfulness.

C.N.: At a lot of [brands], it’s like, “This season, everything’s a miniskirt. If your thighs aren’t great, see you in the fall!” Willy’s casting allows for a very broad vision in terms of what the styling can do: You’ll have someone like me, who’s 5-foot-4 [Nazario walked in the fall 2024 show], and then you’ll have someone who’s 6-foot-4.

W.C.: You’ll have a woman in her late 50s and a 17-year-old boy.

C.N.: Everyone from twinks to daddies. If you tried to dress everyone the same, it’d be a disaster.

W.C.: I can suggest something that you don’t like, and you’ll say, “Let’s go with it. Let’s see.” And I’ll do the same. I’ve worked with stylists who will deliberate over the positioning of a hat for hours. The stress level is so intense, it kills the moment. Having the freedom [to experiment reflects] a levity we want the brand to have. You know, we address serious subjects, like human rights, inclusion …

C.N.: Self-identity. But if we’re stressed, everyone’s stressed. We try to keep it light, but we also understand the weight of the responsibility. It’s rare that you work with people who understand what you’re feeling and what you want to convey. And I think our trust lies in that. — N.H.

Photo assistants: Eamon Colbert, Jordan Zuppa

MINK STOLE, ACTRESS, AND JOHN WATERS, FILMMAKER Have worked together on almost every one of his movies since “Roman Candles” (1967), including “Pink Flamingos” (1972), “Hairspray” (1988) and “A Dirty Shame” (2004).

Video by Melody Melamed

MINK STOLE: John, I’ve just been told your conference line is charging me a penny a minute.

JOHN WATERS: Oh, c’mon. I’ve been using it for 20 years. It’s never said that.

M.S.: It’s fine. I can handle it.

T: How did you two first meet?

J.W.: Mink also grew up in Baltimore, although I was friends with her older sister Mary, who now goes by Sique. My memory’s that we met in Provincetown, Mass., right before doing my second movie [the 1967 short] “Roman Candles” [in which Stole plays a party guest who gets spanked]. She was looking to go bad and found the right crowd. Prescott Townsend, one of the first gay radicals, allowed us to live in a tree fort he’d made.

M.S.: That was the summer I got introduced to homosexuality.

J.W.: Did we take acid that summer?

M.S.: I kind of think we did, yeah.

J.W.: And then we took it again 50 years later. My mother always used to say, “Don’t tell young people to take drugs.” But I’m not — I’m telling old people to. Anyway, we shot “Roman Candles” partly at my parents’ house and, oddly enough, a decade later, you filmed a big scene at that same house, in my parents’ bedroom, when you played [the delusional housewife] Peggy Gravel in “Desperate Living” [1977].

From left: Stole, 76, and Waters, 77, photographed, respectively, at Edge Studios in Mid-Wilshire, Los Angeles, on Feb. 4, 2024, and at Waters’s home in Tuscany-Canterbury, Baltimore, on March 7, 2024.

Melody Melamed

M.S.: We threw a baseball through a window and kind of trashed the place. Your mom was a sport.

J.W.: So was yours. Mink and I were arrested [along with three other members of the crew] for conspiracy to commit indecent exposure while making [the 1969 film] “Mondo Trasho.” It was in the paper. They printed your poor mother’s address.

M.S.: We were acquitted.

J.W.: We’d been filming a scene at Johns Hopkins University with [the actor and drag performer] Divine, in full makeup and a gold lamé top with matching toreador pants, in a 1959 red Cadillac convertible with the top down in November. I never asked permission [to shoot]. The police came and we all ran. The fact that we got caught and Divine escaped didn’t say a lot for the Baltimore police. Mink played an escaped mental patient; she did a nude tap dance.

M.S.: I’d get upset when the press would call us unprofessional because, although it was true that not one of us had ever taken an acting lesson, we were incredibly professional. And none of it was ad-libbed. John wouldn’t have tolerated that. He knew every comma, every “and,” every “but.”

J.W.: What’s that French term for people who go crazy when they’re together?

M.S.: “Folie à something”?

J.W.: “Folie à famille.” Everybody chipped in, and we just went for it.

T: Mink, were there any scenes you refused to shoot?

M.S.: Before we started filming “Pink Flamingos” [1972, in which Stole plays the proprietor of a black-market baby ring], John very casually said, “Will you set your hair on fire?” And I said, “Yes, that’ll look great on film.” But then as the moment approached, I panicked.

J.W.: I was on pot when I thought of that.

M.S.: It would’ve been great, except that I’d be bald today. I think that’s the only thing I ever refused to do.

T: What’ve you learned from each other?

M.S.: In the early films, we all acted largely. We spoke in italics. In the later ones, when I’d start to behave that way, John would say, “Take it down.” I was shocked [the first time he said it].

J.W.: When we made those early movies, I was influenced by the theater of the ridiculous — by cruelty, shouting and craziness. It wasn’t them overacting, it was me telling them to overact.

M.S.: I have enormous respect for John, and John for me. Aside from the fact that I love him dearly, I don’t know where I’d be if I hadn’t met him.

J.W.: And we’ve never had the same boyfriend.

M.S.: Or wanted the same boyfriend.

J.W.: Mink and I have been through a lot together. We’ve fought, we’ve made up. I don’t trust people who don’t have old friends. For me, they outlast family. Mink and I are even going to be buried together in the same graveyard. We call it Disgraceland. — N.H.

Waters: Makeup: Cheryl Pickles Kinion. Photo assistants: Daniel Garton, Ashley Poole

COBY KENNEDY AND HANK WILLIS THOMAS, ARTISTS Have spent three decades collaborating on public art installations and community-focused projects, including 2023’s “Reach,” a more than 2,700-pound fiberglass-and-resin sculpture at Chicago’s O’Hare International Airport of two hands nearly touching.

From left: Kennedy, 47, and Thomas, 48, photographed at Thomas’s studio in East Williamsburg, Brooklyn, on Feb. 28, 2024.

D’Angelo Lovell Williams

COBY KENNEDY: We met on a collaboration, actually. It was the summer of 1992.

HANK WILLIS THOMAS: I’d been recruited to work with Coby to renovate the darkroom at Howard University [in Washington, D.C.], where his father [Winston Kennedy] was the chair of the art program. We were in high school. Building a darkroom when you don’t really know how — that’s kind of the way we’ve always worked. Back then, Coby was a street writer.

C.K.: A graffiti writer, in the parlance of our times. My graffiti and school crews melded into this conglomerate [called] the Earthbound Homies.

H.W.T.: This was [during the] peak ’90s hip-hop days. The group was [made up of] all these young, primarily Black artists. I wasn’t one of them, I was a documenter.

C.K.: Hank was in museum studies, while the rest of us were in visual arts. He was very quiet and observant. It felt like he was always regarding you.

H.W.T.: The core of our relationship has been fostering opportunities for others to interlace their practices. The Wide Awakes [their most recent art collective, named after a progressive group that supported Abraham Lincoln during the 1860 presidential election] took off in my old studio in December 2019.

C.K.: We were trying to plug into society and see how we could influence it. When 2020 happened — the pandemic, the lockdown, the insurrection — we really hit the accelerator with it.

H.W.T.: I’d call the Wide Awakes our first public collaboration. But then again, 2016 is when “Reach” [their sculpture at Chicago’s O’Hare airport] first started. We’re excited to have it be one of the largest public acknowledgments of something we’ve been doing for 30 years.

C.K.: In our collaborations, we kind of fill in each other’s gaps.

H.W.T.: As a conceptual artist, I have great ideas — a lot of them. Coby, who has a history as an industrial designer and animator, is the bridge between the proposal and how it happens. With virtually every one of my public sculptures, he’s done all the initial concepting. He’s always had this ability to see what others are thinking. We also have different tastes.

C.K.: And they’re sometimes at odds with each other, which is one of the best parts [of our working relationship], because I’d hate for both of us to be middle ground.

H.W.T.: Coby has a very clear, singular vision, while I create art through consensus. I want to make a statement [so I’m often asking others], “What do you think about it?” I envy Coby’s talent. But I also think not having his talent gives me a reliance on other people, which is helpful in the context of making public art.

C.K.: I know that he’ll tell me the truth about anything I come up with, and he knows that if I have to talk trash about one of his ideas, I’ll talk trash about it.

H.W.T.: As much as I’d like Coby to think like me, then he wouldn’t be him and I wouldn’t be me. We allow each other to be who we are. — N.A.

INGAR DRAGSET AND MICHAEL ELMGREEN, ARTISTS Have worked as the duo Elmgreen & Dragset on more than 90 solo shows and site-specific installations, including a 2005 replica of a Prada store near Marfa, Texas, since 1995.

From left: Dragset, 54, and Elmgreen, 62, photographed at their studio in Neukölln, Berlin, on Feb. 7, 2024.

Julia Sellmann

INGAR DRAGSET: We met at After Dark, the only gay club at the time in Copenhagen, in 1994. I was 24 and Michael was 32. I thought he looked amazing — he had this Dennis Rodman-style hair that was bleached with baroque black patterns on it. We both had big Dr. Martens boots and were much grungier than the rest of the crowd.

MICHAEL ELMGREEN: The club was a classic disco — a lot of blown-out hair and Gloria Gaynor. It wasn’t difficult to spot each other.

I.D.: We got more than a little tipsy. When we both started to walk home, we realized that we lived not only in the same neighborhood but in the same building. That was the beginning of our 10-year romantic relationship. The artistic collaboration started eight months later, a little bit by accident. I was doing theater at the time.

M.E.: I was writing poetry and experimenting with texts that would morph in front of people’s eyes on IBM computers. To my surprise, I was considered a visual artist.

I.D.: Michael got invited to do an exhibition in Stockholm. He had the idea of creating abstract pets that people could cuddle, but he didn’t know how to make them. And I said, “Well, I’m good at knitting.” So that’s how the collaboration started.

M.E.: The Swedes are, as we know, a bit stiff; they were terrified about interacting with the artwork. So we were sitting in [opposite] corners with these knitted pets, cuddling them, and people thought it was a performance.

I.D.: That accidental performance inspired us to do more. The next one was a piece where I was furiously knitting at one end of a very long white cloth while Michael was unraveling everything from the other end. That should tell you a bit about our partnership.

M.E.: When we were coupled, we were almost the same size in clothes, so we even shared socks, we shared bank accounts, all our friends.

I.D.: We had one email account, one cellphone.

M.E.: Starting a new chapter after we split up was like meeting again, workwise. We had separate lives for some hours of the day. Suddenly, you could bring in exciting things that the other hadn’t experienced.

I.D.: It was a very difficult time. We put most things on hold, but we had one exhibition that would’ve been hard to cancel: a solo show at Tate Modern [in London]. In a big room with a window overlooking the Thames, we added another windowpane and, in between the panes, we had an animatronic but very realistic-looking sparrow that seemed to be gasping for life and flapping its wings, and nobody could help it.

M.E.: I think the beauty of it all was that we dared to stop being boyfriends because we knew we wouldn’t lose each other. Today, it’d be impossible to say who came up with what idea. It’s not two half authorships. It’s like this imaginary third persona in between us that we feed — an invisible genius kid who’s much, much younger, brighter and more charming than either of us. He’s creating the artworks. — J.H.

BOBBI SALVÖR MENUEZ, ACTOR, AND MICHAEL BAILEY-GATES, ARTIST Have collaborated on dozens of performances and photography projects throughout their decade-long friendship.

From left: Menuez, 30, and Bailey-Gates, 30, photographed at Smashbox Studios in Culver City, Calif., on Feb. 1, 2024.

BOBBI SALVÖR MENUEZ: I curated a 2014 show at [the Brooklyn exhibition space] Muddguts that was part of a series in which I invited people who didn’t always make performance work to create something in a performance context. We’d been in a group show together before and had mutual friends, and I was excited about the work I was seeing Michael make.

MICHAEL BAILEY-GATES: It was me, Bobbi and maybe two or three other people. I had this party trick of being able to talk really fast, like an auctioneer. When I said certain phrases, one of them would stand up, and another would scream at the top of their lungs or throw an object at someone.

B.S.M.: It felt like the beginning of us making things together on the fly. We both had this down-to-get-into-it energy that was well matched.

M.B.G.: We shared an urgency to make work come to life. Sometimes it’s as simple as being a body for another person. I’ve been the lead in Bobbi’s performances, and I’ve been in the background, lying on a floor covered in red paint. Performance art in New York at the time was about executing an idea without a lot of money. These days, I don’t go into a shoot thinking we’re performing, but it’s very much that: The camera is the audience looking back at us.

B.S.M.: Michael has this ability to see the kaleidoscopic possibility of someone’s self- expression. Around 2018, I was out as nonbinary to my close friends and finding my new name. I took a break from auditions and started working part-time as a substitute teacher. When a film I’d shot the year before got into [the 2019] Sundance [Film Festival], it was an invitation to step back into the spotlight. I’d shaved my head and was nervous about that formal, public coming- out moment. It just felt so cringe. I went to Los Angeles before going to Sundance and made some pictures with Michael that were only for us. Those were the first images of Bobbi that entered the world.

M.B.G.: I never want to make a picture of somebody that’s not reflective of them. I’ve chosen in my practice to always focus on a small group of friends, and those collaborations are the grounding force of my work. Without them, what would my pictures be? They’d be something less precious. — C.R.

Makeup: Zenia Jaeger at Streeters using Submission Beauty. Hair assistant: Drew Martin. Production: Resin Projects. Photo assistants: Michael Preman, Jack Buster

Humberto Leon, restaurateur and creative director

Leon, 48, photographed at his restaurant Chifa in Los Angeles on Dec. 14, 2023.

Ryan James Caruthers

Then: The co-founder, with Carol Lim, of Opening Ceremony, the influential New York clothing store established in 2002; the co-creative director of the French fashion house Kenzo between 2011 and 2019.

Now: Co-runs three restaurants in Los Angeles — Chifa, Monarch and Arroz & Fun.

In 1975, the year I was born, my mom opened a restaurant in Lima — my mom’s from Hong Kong, my dad from Peru — and so I’ve always thought of a meal as a way to learn and to meet new people. In 2020, I’d recently quit Kenzo and sold Opening Ceremony. My sisters and brother-in-law were in the midst of changes of their own, and we’d always wanted to tell my mom’s story. So we decided to open a restaurant together in Eagle Rock, the Los Angeles neighborhood where my family first lived when we immigrated to the United States in the late ’70s. We named it Chifa, after my mom’s place in Lima, and based the menu on a similar mix of classic Peruvian dishes like lomo saltado (beef stir fry) and anticucho (meat skewers) and Chinese home cooking — though my brother-in-law, the chef John Liu, has added some of his Taiwanese family’s culinary staples, too.

Starting anything new is scary, and I didn’t have the confidence to do so until the pandemic, which gave me time to try new ideas. (I also wrote a screenplay and a script for a TV show.) I tried to channel the intuition [I’d brought to Opening Ceremony] into other fields. I realized that what I’d done with the store was ultimately about the fond memories people had of the place rather than any specific product. Food does something similar: It creates conversations and memories.

I had the same feeling when I opened the store: “Will anyone show up?” We’d built Opening Ceremony from the ground up — no ads, only word of mouth — and that experience lent itself to launching Chifa, as well as Monarch and Arroz & Fun [our second and third restaurants, which opened last year in the Arcadia and Lincoln Heights neighborhoods, respectively]. In many ways, I’m bringing the same sensibility to the restaurants that I brought to Opening Ceremony: They’re places where you can discover new things. We aren’t aiming for formality or perfection. If anything, part of the experience is dropping your fork and noticing the cool terrazzo floor or really looking at the flatware, which we made with the designer Izabel Lam. As a person who shops and eats a lot, I want to be excited, to feel that nervousness of trying something new. — M.S.

Nick Cave, musician, writer and artist

Cave, 66, photographed at his studio near his home in Brighton, England, on Jan. 29, 2024.

Then: Rose to prominence with his post-punk band the Bad Seeds, formed in Melbourne, Australia, in 1983; became one of rock’s most celebrated lyricists and performers.

Now: Makes ceramics at a studio close to his home on the south coast of England, and his first major solo show, “ The Devil — A Life ,” is on view now through May 11 at Xavier Hufkens gallery in Brussels. Will release a new record with the Bad Seeds later this year.

I learned early on that the grand designs you have in life don’t always pan out. Starting in secondary school, I wanted to be a painter. I went to art school [for university in 1976] and, to my horror, failed my second year. At the same time, my first band [the Boys Next Door, which eventually became the Birthday Party] was starting to do well in the underground scene in Melbourne. I was much more interested in painting — I did figurative work that often referenced myself — but I’d failed, so I carried on with the band.

I started making ceramics during the pandemic. I collect Victorian Staffordshire-style figurines, the sort of thing an English grandmother might have on her mantelpiece, and one day I thought, “I could make these.” I found I was really swept up by clay. I struggle hugely with writing songs — not the music, but the lyrics. They never feel good enough. Mostly it’s all doubt and despair. But I don’t think I’ve felt more pleasure than I have when pulling a piece out of the kiln and looking at something I’ve made with my hands.

At some point, I had an idea to make a devil, mostly because I wanted to paint a figure in a fiery red glaze. I made one devil and then others, and eventually they began to tell a story. In the beginning, there’s a sort of lightheartedness about this wicked little guy: In his youth, he’s embedded in the world and in love with it. But then he kills his child, and [the figures] get dark and desperate. Later, he becomes remorseful and dies a terrible death. And in the end he’s forgiven by his child.

The death of a child is obviously very important to me because two of my own children have died. [Cave’s son Arthur died in 2015 at age 15. His oldest son, Jethro, died in 2022 at age 31.] And the works were saying something very powerful to me about my unfolding situation in life, something that my songs didn’t really talk about. I found that I could look at this poor devil in a pool of tears, with his lost child extending his hand to him, as a kind of meditation on my own place in the world and find a way that I — or we or whoever — may live a life. — M.H.M.

Jordi Roca, pastry chef

Roca, 45, photographed at Rocambolesc Gelateria in Girona, Spain, on March 13, 2024.

Anna Bosch Miralpeix

Then: Joined the restaurant El Celler de Can Roca — founded in 1986 by his brothers, Joan and Josep, in Girona, Spain — in 1997, becoming head pastry chef in 2000.

Now: After starting his own gelateria chain, Rocambolesc, in Girona with his wife, Alejandra Rivas, in 2012, and being diagnosed with a rare neurological disorder four years later, opened an outpost of the gelateria in Houston in 2022 with a neurodiverse team.

When I first started to lose my voice, it didn’t have much of an effect on my creative process in the kitchen. I had to learn to interact more through gesture, but I could still speak during quieter moments. That was around 2016, when I was giving a lot of interviews. It was a period in my career when I needed to speak but, instead, was a time of introspection. Once I got the diagnosis — I have an unusual expression of spasmodic dysphonia [a neurological disorder that causes spasms in the voice box] — it meant I could finally move forward. Now I think of this as just part of who I am.

The idea to open a U.S. branch of Rocambolesc, the gelateria, which has five locations in Spain, came a year or so before this. In 2015, when we were [hosting] cooking events around the world for Celler de Can Roca, we met our business partner Ignacio Torres in Houston. He has family members with autism, and having a place that would hire people with autism and Down syndrome was part of his idea from the beginning. By the time we opened Rocambolesc in Houston in 2022, we’d already had experiences in Celler de Can Roca with team members who had neurological differences. But staffing a project with a neurodiverse team was a huge personal gamble taken by Ignacio and his wife, Isabel, to transform the stigmas around neurodivergence in the United States. The project’s really been embraced in Houston. We have staff who’ve been with us right from the beginning. Of course, my own difficulties have given me a deeper empathy with people who can’t always express themselves in the way they might like. But what I’ve learned — especially through this project — is that we all live in the same world. There’re just many ways to see it. — M.S.

Cassi Namoda, painter

Namoda, 35, photographed with paintings in progress at her studio in Biella, Italy, on Feb. 25, 2024.

Claudia Gori

Then: A visual artist known for her spare yet color-rich depictions of contemporary African people and landscapes who was last based in the Berkshires region of Massachusetts.

Now: Living in Biella, in the Piedmont region of northern Italy, where she’s working in a new studio and preparing to become a mother.

Biella has a beautiful, fantastical landscape — you have a backdrop of the snowcapped Alps, but there are also palm trees, beeches, pines and cypresses. It’s an easier flight to my family in Mozambique [than from the United States]. And we’re a 10-minute drive away from my husband’s family.

I found an incredible studio where I can visualize having my child and making magnificent work. The commercial art world is a masculine environment. But this is my own world. There’s a large kitchen with big windows and an amazing chef’s oven, so there can be lunches. I’ll put in a daybed because I know I need naps. There’ll be a baby corner, with a crib and maybe some safe paints. I’m really into self-preservation and embracing femininity.

My life before was very utilitarian. Some days, I’d get to the studio early and be there until 3 or 4 a.m., eating popcorn and puffing on a cigarette. The child has already forced me to have a healthier balance with work. But I have these dreams about me before [there was] this new spirit in me. It’s not a somber or sad thing, like, “Oh, I wish I was Cassi in Tambacounda, Senegal, plein-air painting in the field.” But I’m remembering that person.

I finally got into the Italian health care system, which has been a nightmare. It’s not superfriendly to foreigners. Meanwhile, I’m preparing for a solo exhibition in September and a museum show opening in December. In my head I’m like, “The baby’s coming really soon, I don’t really have a doctor, I’m still setting up my studio and I have a 53-foot-long cargo container with all of my belongings arriving on Monday!”

There are large works to start but, with this heavy belly, I can’t balance on a ladder. I might bring the canvases down to the floor and rest them on bricks. I’m visiting a softer, more romantic side. The world’s in a dark place; why not make something beautiful? I’m seeing flamingo pink and yellow and sandy tones. It’s soft and rosy. I don’t think it’s because I’m having a girl — the sex of the baby is a surprise — but that’s how I’m feeling right now. — E.L.

Jon Bon Jovi, musician and singer-songwriter

Bon Jovi, 62, photographed at his restaurant JBJ Soul Kitchen in Red Bank, N.J., on March 1, 2024.

Sebastian Sabal-Bruce

Then: Co-founded the rock band Bon Jovi in Sayreville, N.J., in 1983. Began experiencing vocal difficulties in 2014.

Now: Is recovering from throat surgery, a process depicted, among other things, in the docuseries “Thank You, Goodnight: The Bon Jovi Story,” out this month. Will release a new album, “Forever,” with the band in June.

My problems started about a decade ago. In 2013, we had the number one tour in the world, and I was great for 100-plus shows. But in 2014, I wasn’t really making any music, which was hard psychologically. Then some of the recordings and shows we did, especially after 2017, were challenging — my range seemed to have narrowed and it was becoming difficult to sing consistently. But none of the professionals I saw could figure it out.

In March 2022, a doctor in Philadelphia explained that one of my vocal cords was atrophying. I thought I could get my voice back in shape if I just did enough shows, so I went back on the road. But it was a struggle. Finally, that June, I had an implant put [inside the cartilage of my larynx] to bring my [vocal folds] together. There was no singing at all for the first six weeks. Then I started speech therapy. I have rehab four times a week. But I’m still not sure what to expect. Yesterday when I was rehearsing with the band, I had a rough go with the song “Limitless” from the album “2020” [released by the group that same year]. I said, “Guys, I only ever sang this song when I was broken. I don’t know how to sing it not broken.” If I had the word “lay,” I’d put an “E” on the end of it to try to push it up to pitch: “layeee.” But right after that, I popped the high notes on [our 1986 hit] “Livin’ on a Prayer.”

This new album’s much more of a collaborative record than the ones I’ve made in the past. It’s a celebration of my accepting any and all input and acts of kindness. It’s not been a good decade. It’s not been easy to not be the best guy in the band; it’s not easy to be the worst. It’s humbling but I don’t mind the humility. I just want my tools back. Yesterday, I pressed the point-of-no-return button and said yes, in theory, to a handful of possible shows abroad for the summer, the first ones since the spring of 2022. I’m not an applause junkie. I do it because I love to write a song and play it for people. If I have all my tools, it’ll be a joy. — E.L.

Grooming: Loraine Abeles

Titus Kaphar, artist

Kaphar, 47, photographed at his studio in New Haven, Conn., on Feb. 22, 2024.

Artwork, from left: Titus Kaphar, “I Knew,” 2023 © Titus Kaphar; Titus Kaphar, “Do You Want It Back?” 2023 © Titus Kaphar; Titus Kaphar, “Some Things Can’t Be Worked Out on Canvas,” 2023 © Titus Kaphar

Then: An artist whose works, which often confront family history and the experience of being Black in America, are in the collection of the Museum of Modern Art, among other institutions.

Now: Wrote and directed his first feature-length film, “Exhibiting Forgiveness,” which premiered at Sundance in January. Paintings Kaphar made for the film (pictured above) will be shown at Gagosian in Beverly Hills in September.

“Exhibiting Forgiveness” started as a series of paintings — in particular, with one of a burning lawn mower. It didn’t take long to realize that what I was doing wasn’t best processed with paintings alone. [The film focuses on a successful artist, Tarrell, played by André Holland, who struggles to deal with the reappearance of his estranged, abusive father, La’Ron, played by John Earl Jelks, who’d force Tarrell to perform grueling manual labor as a child.] The power of painting’s often the absences: what’s not there, what’s implicit. You don’t know what happened before and you don’t know what will happen after. In film, you have an opportunity for elaboration.

I’ve tried hard not to read reviews of the film, though a friend sent me one. It was positive but what [the critic] wrote at the end, I’ll never forget. He said, “But I can’t say this film is entertaining.” [ Laughs. ] With film, some of us expect entertainment, to have a great time. And that response does frame the way we distinguish film from painting. As a painter, I don’t stand in front of [Pablo Picasso’s] “Guernica” and go, “This isn’t entertaining!” I didn’t approach filmmaking as anything different from painting. I wanted the film to be a painting in motion. The way I make decisions in the studio, about how to follow my intuition or instincts, or how to lay out a composition, was the same process I used on set. The difference is I had an extraordinary cinematographer and cast of actors to help me realize the paintings in my head.

At its essence, “Exhibiting Forgiveness” is about generational healing. I took on this project because I wanted to have a conversation with my children about the world I grew up in, which is so different from the world they’ve grown up in. And I think making the film helped resolve something within me. The revelation I had is that I can’t make my father out as the villain in my mind. He’s a victim of violence himself. And even though [he] created challenges for me, I’ve never wondered whether or not he loved me. — M.H.M.

Bárbara Sánchez-Kane, artist

Sánchez-Kane, 36, photographed at his studio (the artist uses she/her and he/him pronouns interchangeably) in Mexico City on Jan. 22, 2024.

Ana Topoleanu. Artwork, clockwise from left: Bárbara Sánchez-Kane, “La Diegada,” 2016, courtesy of the artist and Estudio Sánchez-Kane; Bárbara Sánchez-Kane, “Tragic Stages,” 2023, courtesy of the artist and Estudio Sánchez-Kane; Bárbara Sánchez-Kane, “Moctezuma’s Revenge,” 2017, performance by Sierva M, courtesy of the artist and Estudio Sánchez-Kane, photo: Karla Ximena

Then: The designer of Sánchez-Kane, the genderless clothing brand she founded in Mérida, Mexico, in 2016.

Now: An artist working with painting, sculpture and performance — while still running the label.

One of my first shows in a museum was at the Institute of Contemporary Art in Los Angeles in 2017. The curators invited me to present a collection from my fashion line that I’d shown in New York, and I said, “No, but maybe I can do a performance.” There’s a kind of freedom in making wearable sculptures because, in the end, clothing has to be ergonomic: The jacket I made with boxing gloves has an opening for your hands so you can eat a burger. But for the ICA show, I created a pair of transparent plastic pants with a metal frame that made them almost impossible to walk in. And last year, for my first New York solo exhibition, at Kurimanzutto gallery, I made a piece from 1,170 black plastic belts that was so big and heavy, I had to break it into parts to show it. I remember reading an article by the queer theorist Jack Halberstam on the work of the artist Gordon Matta-Clark, who would [create] windows in structures where they shouldn’t be. For me, the work is like that: opening windows that give you a different way of seeing what’s in front of you.

I started as an industrial engineer first and then became a fashion designer, but I’ve come to realize that it doesn’t matter what you’ve studied or haven’t. When I feel like the worst sculptor, I think, “Well, at least I’m a good designer.” And when I feel like a great sculptor, I might look at [the clothes in my studio] and think, “Those terrible [expletive] trousers!” Expanding into other fields is a way to embrace yourself. All we have is our imagination, which allows us to create things: objects, garments, skins that we wear when we go out into the world. I’m not saying they’ll save us, but maybe they can help us navigate the transition to another universe. — M.S.

Miguel Adrover, 58, Calonge, Majorca

The former fashion designer Miguel Adrover, now a full-time photographer, photographed at home on Majorca, Spain, on Jan. 8, 2024.

The provocative Spanish fashion designer, who had a New York-based clothing line, put a sheep on the runway and made a coat out of the ticking from the gay icon Quentin Crisp’s discarded mattress. He left the industry over a decade ago.

I started my own line in 1999 in New York, where I had been living in the East Village since 1991, and shut it down in 2005 and left the city. In 2012, I [returned] to present one runway show, which I called Out of My Mind. It was made up of personal garments I’d repurposed. I was 46. 

I’d been trying to find a way out of this unsustainable industry, this imaginary fantasy that fashion creates. My collections dealt with social justice, environmental consciousness and diversity before those topics became mainstream, and some seasons I didn’t sell anything. I never had a sugar daddy, and I invested everything I made back into the company. 

I miss New York a lot. I’m homesick for it, but it isn’t the same city, and fashion is very different, too — it feels inauthentic and disconnected from reality. When I was doing consulting and research for Alexander McQueen [in the mid-90s], we had no money. But the energy was amazing. When you don’t have money, that’s when you’re most creative. Now all of these big companies have so much money that it feels like a different world. [Still] I’d love to have the chance to put on one last presentation, one last show to express how I feel today and how I see the world right now. 

When I left New York, I decided to come to Majorca, where my parents have a farm. I started doing photography accidentally; I had no knowledge of cameras, every day was a process of me learning something totally on my own. There was a 300-year-old well on the property with no water inside, and I realized it could be my studio. It’s kind of like a basement; light comes from a little window high above. It reminds me of my apartment in New York. It’s where I develop my [projects]. I use things that surround me: tulips and rose bushes, fruit trees, a tropical garden, chickens. 

When I got here, I didn’t have a team [as I did in fashion], and one of the challenges was being surrounded by people who don’t care about what I did or what I’m doing. Photography was the ideal thing to do because I don’t need anybody, I can do it on my own. I don’t have any models; I started working with mannequins and, for many years, I collected them on eBay or from secondhand stores on the island. [I decided] I’d rather not use models — when you photograph human beings, they’re pretending or acting, and I was running away from that.

It’s been nine years since I found photography, and I’m really happy. I have a monograph coming out later this year. The photographs are like my biography. I’ve developed my style in photography and I have a creative language. Fashion was the platform I once used, but the soul inside me is the same. — interview by J.W.

Ralph Ellison, writer, circa 1913-94

Ralph Ellison, the author of the 1952 novel “Invisible Man,” in June 1957 during his fellowship at the American Academy in Rome.

James Whitmore/The Life Picture Collection/Shutterstock

Ralph Ellison spent seven years writing his only completed novel, “Invisible Man,” and its publication in 1952, when he was in his late 30s, not only catapulted him to literary fame but made him nothing less than a spokesperson for postwar America. His contemporary Norman Mailer would write of him that at his best, “He writes so perfectly that one can never forget the experience of reading him.” “Invisible Man,” a surreal picaresque that follows an unnamed Black protagonist — “a man of substance, of flesh and bone,” Ellison writes — as he travels through a country full of people who “refuse to see me,” is a book of such remarkable confidence that Ellison’s career, in later years, became mired in questions of what next? Ellison, a prolific writer of essays, reviews and criticism, worked for years on a follow-up, suffering one setback when a 1967 house fire destroyed portions of his manuscript. When he died in 1994, he left behind thousands of pages of drafts, fragments and unfinished tangents. Ellison’s literary executor and longtime friend, John F. Callahan, tried to edit the material down into a “single, coherent narrative,” as he put it, and published the result, called “Juneteenth,” in 1999; the New York Times critic Michiko Kakutani called it “disappointingly provisional and incomplete.” Ellison often struggled with writing. He once likened his second novel to a “bad case of constipation” and, in a 1958 letter to his friend the author Saul Bellow, Ellison wrote, “I’ve got a natural writer’s block as big as the Ritz and as stubborn as a grease spot on a gabardine suit.” — M.H.M.

Charles Laughton, actor and director, 1899-1962

The actor turned director Charles Laughton with the actress Sally Jane Bruce on the set of “The Night of the Hunter” (1955).

Everett Collection

Born in the last year of the 19th century, Charles Laughton left his family’s successful hotel business at the age of 26 to study acting at the Royal Academy of Arts in London. What he lacked in movie star looks — the critic J. Hoberman described him as “coarse-featured, overweight and slovenly” — he made up for in talent. Following a successful stage career in London’s West End, he turned to film, making a name for himself as a versatile character actor in the 1930s and ’40s. In 1955, at the age of 55, he made his most indelible contribution to his craft, directing “The Night of the Hunter,” a film noir so dark it easily passes today as horror. (William Friedkin, the director of 1973’s “The Exorcist,” described it as “one of the scariest films ever made.”) Robert Mitchum plays a terrifying ex-convict posing as a preacher and stalking the children of his former cellmate in order to find a hidden fortune. While casting Lillian Gish in the role of the children’s caretaker, Laughton told the actress about his disappointment in audiences’ lack of attention for movies, how they “slump down with their heads back, or eat candy and popcorn. I want them to sit up straight again,” he said. Though now often ranked among the greatest American movies, “The Night of the Hunter” — released just a few years before Alfred Hitchcock’s “Psycho” (1960) made the psychological thriller into a marketable genre — was a commercial flop. Reviews were mixed; The New York Times’s Bosley Crowther called it “a weird and intriguing endeavor.” Years later, Terry Sanders, a second-unit director of the film, wrote that “the rejection by critics and the indifference of audiences hit [Laughton] hard and crushed his spirit. It wasn’t just disappointment he felt, it was utter and deeply debilitating devastation.” He never directed a second movie. — M.H.M.

Willis Alan Ramsey, 73, Loveland, Colo.

The singer-songwriter Willis Alan Ramsey, photographed at Sam’s Town Point bar in Austin, Texas, on March 14, 2024.

Caleb Santiago Alvarado

The singer-songwriter Willis Alan Ramsey, originally from Alabama, released his self-titled debut album in 1972, becoming a forebear of the alt-country genre. Jimmy Buffett and Lyle Lovett became devoted fans. More than 50 years later, Ramsey still hasn’t completed his second album.

I started trying to write songs around 1968. My first song was just awful, but I got better over time. I dropped out of college twice, the second time in 1970, from the University of Texas [at Austin], after discovering a folk club where I became an opening act for $5 a night. Those were golden, halcyon days in Austin filled with sunshine and margaritas and very little traffic. That fall, I left to begin performing at colleges around the country. I was briefly back in Austin to play at U.T. and, somehow, during two days there, I’d managed to play for Gregg Allman and Leon Russell, two of the most influential musicians of that decade. They both gave me their cards and said to look them up if I ever made it their way. [I went to Los Angeles] and recorded a demo at Skyhill, Leon’s personal home studio, and he basically offered me the moon to sign with his new label, Shelter Records [which folded in 1981]. I’d just turned 20. Over the next year, I recorded my first and only album to ever be released [“Willis Alan Ramsey,” often known as the Green Album for its green cover].

I finished the record when I was 21. I was just a kid. Leon gave me my career, to the extent that I’ve had one [but the reason I never released another record was also] Leon’s fault. He told me that if I signed with Shelter, he’d show me the studio and how it worked, and he did. I immediately wanted to learn everything I could about the recording process. I used seven studios and three rhythm sections [to make the record]. I was given carte blanche. The budget was 85 grand. I could do it for 200 grand [now], but I can’t do it any cheaper. I’d need to rehearse every musician. And my songs are all over the place. I get bored doing one particular style.

I’m the most frustrated recording artist you’ve probably ever met in your life. But I still feel I’ll figure something out. I’ve always been optimistic. I’ve got at least three more records of material. I’m pretty tough on myself in terms of writing, and I’m very attached to what I’ve written. I just haven’t been able to get a deal that’d work for me. I mean, the world works, you know? I think the key is just to work with the world. — interview by M.H.M.

Photo assistant: Sergio Flores

Harper Lee, writer, 1926-2016

The writer Harper Lee in her hometown, Monroeville, Ala., in 1961, the same year that her debut novel, “To Kill a Mockingbird,” won the Pulitzer Prize.

Donald Uhrbrock/Getty Images

“I sort of hoped someone would like it well enough to give me encouragement,” Harper Lee said in a 1964 radio interview, describing her low expectations for her 1960 debut, “To Kill a Mockingbird.” Instead, her novel, about a lawyer in the fictional town of Maycomb, Ala. (a stand-in for the writer’s hometown, Monroeville), who defends a Black man from a false accusation of rape by a white woman, became one of the biggest literary sensations of its era. Lee, who worked as an airline reservations agent in New York for a few years before quitting (with friends’ financial support) to work on her writing, won the Pulitzer Prize in 1961; two years later, a film adaptation starring Gregory Peck won three Academy Awards. “To Kill a Mockingbird” would go on to sell tens of millions of copies and become a fixture of high school English classes.

Lee had a hard time with her sudden fame. After that radio interview in 1964, she mostly avoided the press and, as the years and decades passed without a second novel, Lee continued to guard her privacy, albeit regularly attending the Methodist Church in Monroeville and occasionally visiting the local high school during lessons about her work. The year before she died at age 89 in 2016, a previously unknown novel, “Go Set a Watchman,” which had been written before “To Kill a Mockingbird,” appeared to tepid reviews and claims that Lee, by then largely deaf and blind following a stroke, had been manipulated into releasing subpar work. Controversy aside, even just the announcement of a lost novel reignited interest in Lee’s lone masterpiece; at that point, sales of “To Kill a Mockingbird” in trade paperback nearly tripled. — M.H.M.

Luc Tuymans, 65, visual artist

Luc Tuymans, “Mijn Grote Vakantie” (1967).

Courtesy of the artist and David Zwirner. Photo: Alex Salinas

When I was 7 or 8, we had to make drawings for school about our summer holidays. I was completely intrigued by the people gathering the garbage outside of our house in Antwerp [Belgium] — their truck, their dress code. During a summer day, I took out my colored pencils. I wrote underneath the drawing, “My Big Vacation.”

It came across as fairly cynical: My big vacation was garbage. It wasn’t meant that way. I really was intrigued by this operation. [Looking at it now] I’m amazed that there’s this perspective already in it. The teacher didn’t believe I made the drawing and took me by the ear to the blackboard to do it again in front of the class.

I’d been bullied a lot as a kid. I was extremely shy. Drawing was a way out, in a sense. I’d draw people who came to visit my parents and, at the end of the year, when exams were done, I’d make drawings for the whole class — whatever they wanted. I always had a ballpoint pen and a piece of paper with me, and people would gather around me while I was drawing, sometimes 20 to 30 of them. The kids were happy to have a drawing, but it didn’t really change the bullying pattern.

I saved most of my [childhood] drawings and gave them to my nephew. Unluckily, he lost them. This is virtually the only one that survived, and I gave it to my wife as a present.

It’s quite interesting to see the size of things — the difference between the houses and the people — and most of all, the idea of space that was already in the drawing. [If I were to redraw this today] it’d be a bit more meticulous, more worked out. But it’s an indication of things that would come later. My skepticism is embedded in this drawing without my doing that consciously — this quite specific, sardonic sense of humor. When I found it again, I had to laugh very, very hard. — J.H.

Do Ho Suh, 62, visual artist

Do Ho Suh, “Tiger Mask” (1971).

This drawing is based on a Japanese anime character, Tiger Mask, that was really popular in the ’70s. Back in those days, Korean TV broadcast Japanese anime in black and white. Everybody at school watched. The character is a pro wrestler who puts on a tiger mask to disguise his identity. I drew the mask directly from the anime. I was probably 9.

Once my friends saw it, they all wanted one. Demand for tiger masks became much greater than supply. Some of the rich kids wanted to trade their Japanese pencils — which had graphics or custom characters on the surface — and colorful erasers for a drawing. My parents couldn’t afford those things, and they weren’t available in Korea. The kids’ parents must have traveled to Japan, which was quite rare back then, and brought them back. [Eventually] I had a box full of those pencils, but I didn’t have the guts to actually use them. The pencils are untouched; the erasers are dried out. For some reason, my mom kept them all these years. — J.H.

Niki Nakayama, 49, chef and Restaurant owner

Tonkatsu is a Japanese home-style staple. It’s a breaded, deep-fried pork cutlet — “ton” means “pork” and “katsu” is a sort of translation of “cutlet” — and it was my absolute favorite food when I was a kid. When my mom made tonkatsu, she’d have my sister and me do the breading, and we really bonded over that. It helped me understand family. We’d set up in the dining room and dredge the cutlets in flour, dip them into the egg wash, cover them with dried breadcrumbs and stack them high on paper plates that we’d bring in to my mother to fry up. Our kitchen had high countertops, and I can remember her standing at the stove in these three-inch platform clogs she’d wear to be a little taller. 

I loved seeing how something became something else — it felt like unraveling magic. One day when I was about 9, I came home from school and got the brilliant idea to make my own [but with chicken]. I grabbed some drumsticks from the freezer, did the breading and, while standing on a stool, dipped them in hot oil. (I never admitted this to my mom.) When they turned the color they were supposed to, I was so proud. I bit into one and it was still frozen. That was my first shock of “I can’t believe I didn’t make [this thing] the way I imagined it would be.”

Anytime I was in Japan, especially in my 20s, my friends there would ask what subarashii gochiso, or “the best thing one could possibly eat,” was for me. I’d say tonkatsu, and they’d be like, “What?!,” because it’s such a simple dish — it was like asking for a sandwich. It isn’t the sort of thing I specialize in at my restaurant [N/Naka in Los Angeles], and I don’t have it often anymore because, as I age, I’m trying to eat lighter, but I still associate it with deliciousness and with happiness. Ever since childhood, I’ve thought of food as being about coming together and cooking as an expression of care and love. Having been on the receiving end of that, I do the work that I do to try to make people happy. — K.G.

Marina Abramović, 77, performance artist

Marina Abramović, “Truck Accident (I)” (1963).

© Marina Abramović/Courtesy of the Marina Abramović Archives/ARS, 2024

When I was a teenager in Communist Yugoslavia, there were these ugly green trucks that weighed so much, they often fell over. I started taking photographs of them and trying to paint them at home. But that wasn’t enough for me, so I bought some toy cars and left them on the highway to see if the real trucks would smash them; they were always untouched. I was fascinated by car crashes. Then when I was 17 or 18 years old, I painted the big car smashed and the little car protected — the idea that innocence survives everything.

My mother studied art history, and I was always going to museums. When I was a baby, my first words weren’t “mama” or “papa”; they were “El Greco.” I had my first exhibition at a youth center when I was 14. They mostly had group shows, but I made so much work that I had my own show. I always say I was jealous of Mozart because he started at 5.

I didn’t know then that painting wasn’t my ultimate goal. It takes a long time to realize who you are. I remember the incredible joy of going into my studio — an extra space in my family’s apartment — with my little cup of Turkish coffee. I would be so much in the dream of painting that I’d accidentally drink turpentine instead of the coffee.

Though I wasn’t aware of it [until recently], this crash represents the energy that I’d create in my early performances: two bodies running toward each other, crashing into each other and making this blurry image. My research today is about the body and how to create a field in which you aren’t afraid of pain, of dying, of limits. When you’re young, you don’t see the straight line but, [looking back] it all seems so logical. — J.H.

Deborah Roberts, 61, visual artist

Deborah Roberts, “James” (1982).

Courtesy of the artist

I used to do a lot of drawings of people at church or kids in the neighborhood. I made this when I was 19, of this boy who came by to play with my brothers. My mother threw most of my drawings away. She had eight children; she couldn’t have all that stuff piling up.

[With that many siblings] you only get attention when you’re sick. But I got a lot of attention for drawing. I was the best artist in my school. The teacher would ask me, “What grade would you want?” I’d say, “I want an A+.” I had a big head. Then I went to the gifted and talented program with high school art students from all over Austin, Texas. I wasn’t the best anymore, but it just made me work harder. That’s where I was first introduced to the work of Henry Ossawa Tanner [one of the first African American painters to achieve international fame, in the early 20th century]. I didn’t even know there were Black artists. We didn’t have the internet or access to museums. We were poor.

I’d ride a small yellow bus to a community college to meet in a special room for the three-hour art class. Eventually, I became the best student in that class, at least in my head. They didn’t ask me what grade I wanted, but I still got an A.

If I were doing it now, I’d blend that hair into the wood better. I wouldn’t have light sources coming from two different areas. But if you look at my collages today, my whole idea’s about seeing people as humans, as children, as vulnerable. I think this is a very vulnerable piece. — J.H.

David Henry Hwang, 66, playwright

David Henry Hwang, manuscript of “Only Three Generations” (1968).

Courtesy of David Henry Hwang. Photo: Lance Brewer

I was about 10 years old, and my maternal grandmother got sick and it looked like she might be close to the end. I remember feeling that that’d be quite tragic — not only would I lose my grandmother but she also happened to be the family historian. I was one of those kids who, for whatever reason, was always really interested in hearing about family history. 

I was born and raised in Los Angeles, but my mom grew up in the Philippines, where my maternal grandparents still lived, so I asked my parents if I could spend a summer there. I went and collected what we’d now call oral histories from my grandmother on cassette tapes, then came back and compiled them into a 60-page family history, “Only Three Generations,” which was [photocopied] and distributed to my family members. Then in the early aughts, someone — my uncle, I think — went and printed two or three dozen copies as a bound version.

I wasn’t someone who felt [that] writing was my calling. I didn’t do another major writing project until I got to college and started writing plays, so I find it interesting that the one time I took on [something] like this was to contextualize myself in a historical framework. That’s consistent with what I’ve done as an adult: sometimes being at sea about who I am and looking at history to gain a sense of self.

The [history] starts with my great-great-grandfather, then the second [part]’s about my great-grandfather and then the third section’s about my grandmother’s generation. I [used] their real names. I think I was trying to be fairly accurate, as opposed to when it later became the basis of my [1996] play “Golden Child.” There’s a lot more liberty taken there. When we did the play on Broadway, my grandmother was still alive and came to see the show. She was supportive of it, but I feel like she liked this version better. — J.A.R.

Ice Spice wears a Balenciaga jacket, $2,150, balenciaga.com; Norma Kamali dress, $350, normakamali.com; Graff cross necklace, $14,000, graff.com; Alexander McQueen shoes, $1,150, alexandermcqueen.com; stylist’s own tights; and her own jewelry. Photographed at a private home in Los Angeles on Feb. 6, 2024.

Photograph by Shikeith. Styled by Ian Bradley

Name: Ice Spice Profession: Rapper Age: 24

Debuting in: Her first full-length album, “Y2K,” titled after her birth date — Jan. 1, 2000 — which comes out this year.

What she’s excited about: “Going on tour. I can’t wait to see my fans up close and personal and really interact with them — interacting with fans online can be a little overwhelming. All their profile pictures are of me. It feels like a bunch of me’s talking back: It’s weird. Especially when it’s pictures I’ve never seen or don’t remember.”

What she’s nervous about: “I don’t even want to put out that energy. People don’t need to know what I’m nervous about.”

How she works in the studio: “If I was already dressed up and cute, that’d produce a different vibe — but for the most part I like to be really comfortable. I need inspiration around me, too, so I’ll have stacks of money sitting next to the mic. Or I have a bunch of stickers of, like, boobs and butts, stuff like that. They’re drawings, though — I don’t just have porn in my studio.”

How it’s gotten easier since making her EP: “When I was working on [2023’s] ‘Like ..?,’ I was stressed out because I had no idea how the next song was going to come out. Each time, I was like, ‘How am I going to make another song that’s good?’ But then it happened, and then it happened again and again so, after that, I was like, ‘OK, making music is really fun.’ As long as I’m having fun, it’s going to sound fun — and I’m going to be happy with it.” — J.A.R.

Production: Resin Projects. Makeup: Karina Milan at the Wall Group

Katigbak, photographed at Lincoln Center Theater in Manhattan on Feb. 2, 2024.

Jennifer Livingston

Name: Mia Katigbak Profession: Actress and co-founder of NAATCO Age: 69

Debuting in: Lincoln Center Theater’s revival of Anton Chekhov’s “Uncle Vanya” (1899), opening this month.

What she’s excited about: “My character, Marina [the central family’s maid], infantilizes everyone. Everything is falling apart around her, but she’s like, ‘Aren’t the old ways better?’ There are a lot of possibilities in that — without getting too metaphorical about the state of Russia, politically and socially.” 

What she’s nervous about: “There’s always going to be that common nervousness of ‘I’m going to mess up,’ but somebody brought to my attention that NAATCO [the National Asian American Theatre Company, which was founded in 1989] has done quite a lot of Chekhov; I didn’t even realize it, and I chose all of them. What I find fabulous about Chekhov is that there are sad situations but also human comedy. You have to find the funny if you’re in dire straits, otherwise you’ll slit your wrists.”

How she feels about having her Broadway debut after five decades on the New York stage: “You live long enough, [expletive] happens. I’d kind of figured, ‘Maybe I’m not Broadway material.’ Usually, when Asians get cast, it’s a musical, and I’m not a singer-dancer, so it was never necessarily going to be a goal. I’m a little bit more realistic: I recently got a text [with a photo of the ‘Uncle Vanya’ ad] from a colleague who said, ‘Look at Miss Fancy Pants,’ and I’m like, ‘I’m just a working stiff.’”

How she reinterprets classics: “From the get-go, the point of NAATCO was to ask people to open their vistas in terms of ‘how, what, by whom, for whom’ in theater. We tackled the Western classics first — William Shakespeare’s ‘A Midsummer Night’s Dream’ (1600) and Thornton Wilder’s ‘Our Town’ (1938) — and my only caveat was not to change them to Asian settings. I remember the first couple of years, maybe decades, people always used to ask, ‘Oh, you’re doing Shakespeare! Are you going to set it in Japan?’ Which isn’t bad, but it’s not the only way to do it. Reception was mixed; there was criticism from both Asian and non-Asian audiences. When we started to do new work — with Michael Golamco’s ‘Cowboy Versus Samurai’ in 2005 — it became a redefinition of what immigrant stories were. Most of the time, the work’s thought of as only one thing, so that was something to figure out. But you can say that about all good theater: It’s asking you to receive something in a different way.” — J.A.R.

Smith, photographed at Rambert School of Ballet and Contemporary Dance in the London suburb of Twickenham on Feb. 14, 2024.

Andrea Urbez

Name: Arielle Smith Profession: Choreographer Age: 27

Debuting in: A reimagined “Carmen,” based on the French writer Prosper Mérimée’s 1845 novella about a Roma woman in southern Spain, which Smith has set instead in Cuba for the version (of the same name) she’s choreographing that premieres at San Francisco Ballet this month.

What she’s excited about: “As a performer, I trained in classical ballet but then went into contemporary dance — the reason I fell out of love with ballet was that the female roles didn’t feel empowering. Not that I needed to be empowered all the time, but every story was dictated by the relationship a woman has to a man. So when Tamara [Rojo, the company’s artistic director] approached me, my first thought was, ‘How could we justify another “Carmen”?’ I wondered how the story would change if one of her lovers was a woman. Musically it’s also not the same — we’ve got a new score from the Mexican Cuban composer Arturo O’Farrill [departing from the French composer Georges Bizet’s 1875 opera], so it’s quite a leap from where it was birthed.”

What she’s nervous about: “I don’t see the point in telling a story again the same way, so that’s one element I’m not nervous about ... but I’m about everything else. The challenge is trying to tell an intimate story in a big space. To make this piece well, it has to move people in some way, and that’s what I’m anxious to get across — for people to feel something.”

How she’s translating the Spanish-set story to Cuba: “Bizet wasn’t Spanish, [so] I thought it’d be more interesting to mainly hear Cuban sounds. I’m Cuban; Tamara’s Spanish; and [the Uruguayan fashion designer] Gabriela Hearst is our costume designer. It’s a full Latinx team, but we’re all different. And this is a universal story that’s not driven by geography. It’s not set on a certain road in Havana but in the soul of these people. I’m not trying to overly examine Cuba. It’s about who I am, as a person who happens to be Cuban, and what my voice contributes.” — J.A.R.

Photo assistant: Callum Su

Pidgeon, photographed at Playwrights Horizons in Manhattan on March 10, 2024.

Sean Donnola

Name: Sarah Pidgeon Profession: Actor Age: 27

Debuting in: “Stereophonic,” a new play by David Adjmi with music by Will Butler (formerly of the indie-rock band Arcade Fire), which transfers to Broadway this month following a run at Playwrights Horizons, where it premiered last fall — that production was Pidgeon’s New York stage debut.

What she’s excited about: “This story [about a fictional band’s interpersonal struggles while recording an album in the 1970s] talks about relationships and what one has to sacrifice to make art. New York’s full of artists, and I’m excited to hear what types of conversations people have after seeing the show.”

What she’s nervous about: “The transition to the Golden Theatre. Singing’s so vulnerable. It’s one thing to mess up in front of 200 people, another to mess up in front of four times that many. Off Broadway, we’d have instruments [accidentally] break down halfway through a scene, and we’d have to figure out how to make it feel authentic.”

How she created her character, Diana, one of the band’s lead singers: “Diana’s not looking to other people to give her an example — she’s not following some blueprint. Her band’s waiting for her to make that next great song, and she gets commodified really fast. I can’t say the same for myself, but I’m [also not dealing with being] a woman in [rock in] the 1970s.”

How she settled into the three-hour play’s slowed-down, naturalistic rhythms: “Our director, Daniel Aukin, kept talking about a documentary feel. I think the design of the play — of hearing overlapping conversations — is [very] fly-on-the-wall. Because of its realism, it can evoke the feeling of a film. There’s this sense that it’s not necessarily a performance when we’re doing these shows; it’s not showy. It’s this thrill of being able to keep things private while also recognizing there’re people in the audience two feet away from you. As an actor, you really feel the tension.” — J.A.R.

Hair: Tsuki at Streeters. Makeup: Monica Alvarez at See Management

Olujobi (third from left), at the Public Theater in Manhattan on March 9, 2024, along with (from left) the “Jordans” actor Naomi Lorrain, the director Whitney White and the actors Brontë England-Nelson, Kate Walsh, Ryan Spahn, Toby Onwumere, Meg Steedle, Matthew Russell and Brian Muller.

Video by David Chow

Name: Ife Olujobi Profession: Playwright Age: 29

Debuting in: “Jordans,” her first fully staged production, opening this month at New York’s Public Theater under the direction of Whitney White. The play is about a 20-something woman named Jordan (Naomi Lorrain), the only Black employee at a creative studio, whose office life is upended when her boss hires another Jordan (Toby Onwumere), who’s also Black, to be the company’s director of culture. 

What she’s excited about: “For a while, this was that play everybody thought was great but nobody wanted to produce. I thought it’d just be a thing that ends up on the page: It’s such a crazy, visual play that lives in this imaginative space, with a lot of production elements. I’m excited to bring that to life — and have it be people’s introduction to me.”

What she’s nervous about: “Making a play that feels current — in the sense that I started writing it in 2018, did the first reading in 2019 and now we’re in 2024. The play addresses the idea of bringing people of color into a [professional] situation as a trend, not out of any genuine interest in them. It has to do with quote-unquote diversity in the workplace, and it feels like we’ve gone through three different cycles of that conversation since I started writing it. I’m trying to synthesize everything that we’ve been through in the past six years but not feel like I’m shaping the play to respond to these fluctuations.”

How she found her way to playwriting: “I was in the Public’s Emerging Writers Group in 2018, which was my introduction to theater. I was never a theater kid; film was my first love — I’d worked at the Criterion Collection during school and done my thesis in screenwriting. When I graduated [from New York University], I [only] wrote a play to get into the [playwriting] group. I had this experience of being fired three times in a row [after] graduation and felt like I had to express something about being the only Black person entering professional spaces.”

How the play’s surrealist tone came to be: “The main character gets coffee poured on her face in the first scene. For me, that was a big breaking open of the play: ‘This is the kind of world that she’s living in. What else can happen in this world?’ It has what we might call surreal elements, but I don’t always think about it that way because, within this play, everything is real. It’s not a dream.” — J.A.R.

Photo assistant: Serena Nappa. Digital tech: Zachary Smith. Production: Shay Johnson Studio

Kim, photographed at his restaurant, Noksu, in Manhattan on Jan. 15, 2024.

Daniel Terna

Name: Dae Kim Profession: Chef Age: 28

Debuting in: Noksu, the 14-seat tasting counter he’s run since last October below ground in Manhattan’s Herald Square, where he serves Korean-inflected dishes, including grilled mackerel with brown butter and squab with gochujang agrodolce.

What he’s excited about: “I had a feeling, during the pandemic, that something might change — like everyone had to start [again] from zero. Even three-star sous-chefs changed careers: They’ve stopped working in restaurants; they’re selling truffles or doing kitchen shows or TikToks. There was a gap, and I thought if I played up my Asian heritage and my French cooking background, someone would be looking for that. Then I met [the restaurant’s] owners, and they offered me this space in a Koreatown subway station.”

What he’s nervous about: “With restaurants, you prove yourself every day. There’s no tomorrow, no next week. I knew I had to have a tasting menu: I have a personal goal — I’m not telling anyone what it is — and, to reach that level, I think it can only be a tasting menu. I’m not enjoying cooking that much; it’s not a passion. This is my career. I don’t cook at home but, if I think about that goal, it makes me come to the restaurant.”

What he took from working at the New York restaurants Per Se and Silver Apricot: “I really thought, ‘What kind of person am I? What kind of cook? What’s my individualism?’ Working in fine dining is such an honor, but it’s their food. It’s not me. I started focusing on food that would represent who I was.”

How he’s handling everyone’s dietary restrictions: “Right now, we don’t accommodate, because we’re a small kitchen. But sometimes they can push you: If a guest can’t eat dairy, how do you make that sauce creamy without using milk? It requires more work, more thought, more team effort. It’s happened a couple of times, and we just freestyle.” — J.A.R.

Tyla wears an Alexander McQueen jacket $5,990, and shorts, $1,690, alexandermcqueen.com; and Prada shoes, $1,120, prada.com. Photographed at Issue Studio in Los Angeles on March 16, 2024.

Photograph by Shikeith. Styled by Sasha Kelly

Name: Tyla Profession: Singer-songwriter Age: 22

Debuting in: Her first full-length album, “Tyla,” released last month. It’s the product of more than two years of collaboration with writers and producers from around the world — and her first time traveling outside of South Africa (she grew up in Johannesburg). Together, they refined her sound, which she describes as “music that people can dance to: Afrobeats, pop, R&B and amapiano,” the last of which is syncopated electronic music that originated in South Africa in the 2010s.

What she’s excited about: “My first tour. My creative director, Thato Nzimande, and I have been speaking about this forever. I have Coachella coming up and, after sitting for so long with this music and all these ideas, I’m excited to see people’s reactions.”

What she’s nervous about: “I used to be very nervous about performing because all of this is very new and, once something’s on the internet, it’s saved forever. I don’t want to look at it years from now and be cringing . I’m a perfectionist but, as an artist, you’re never going to be happy with everything all the time. That’s something I had to learn — how to let go.”

How she synthesizes South African and American influences: “I love the sound of amapiano production, with the log drum and the shakers and the drops. But I’ve also always wanted to be a chart-topper like Michael Jackson and Britney Spears and now SZA, except I wanted to do it with my sound [her first hit, “Water,” debuted on the Billboard Hot 100 in October]. Obviously, people believe, ‘Oh, I have to make just pop.’ But that’s boring to me. I want to sell what I know and love.”

Why South African music has global appeal: “People say they can feel it, and that’s cool because we feel it. It’s very spiritual to us; it’s a genre we feel in our bodies. All these amapiano dance moves that everyone does, it’s not even dancers that come up with these moves — it’s just random people, drunk uncles in the corners of clubs. It’s organic, and I think people are looking for that genuine vibe.” — E.L.

Production: Shay Johnson Studio. Hair: Christina “Tina” Trammell. Makeup: Jamal Scott for YSL Beauty

Peck (near center, in a black shirt), photographed at the Park Avenue Armory in Manhattan on Feb. 27, 2024, along with (top row, from left) the “Illinoise” musicians Kathy Halvorson and Jessica Tsang, the dancer Craig Salstein, the musician Brett Parnell, the dancers Byron Tittle and Christine Flores, the musician Kyra Sims, the dancer Robbie Fairchild, the musician Daniel Freedman, the vocalist Shara Nova, the music arranger and orchestrator Timo Andres and the music director Nathan Koci; (middle row, from left) the vocalist Elijah Lyons, the dancer Ahmad Simmons, the vocalist Tasha Viets-VanLear, the dancers Ricky Ubeda and Kara Chan, the writer Jackie Sibblies Drury and the associate music director Sean Peter Forte; (bottom row, from left) the musician Domenica Fossati and the dancers Jeanette Delgado, Ben Cook, Alejandro Vargas and Rachel Lockhart.

Video by Jason Schmidt

Name: Justin Peck Profession: Director and choreographer Age: 36

Debuting in: “Illinoise,” the first stage musical he’s directing, which opens this month on Broadway after a run last month at the Park Avenue Armory. Based on the singer-songwriter Sufjan Stevens’s 2005 indie-folk album, “Illinois,” the show was also conceived and choreographed by Peck, who collaborated on its narrative with the playwright Jackie Sibblies Drury.

What he’s excited about: “The ‘Illinois’ song cycle [in which every track relates to the Midwestern state] is one of the great albums of the last 20 years: [Sufjan] didn’t have a recording studio; he’d find a musician up in [New York’s] Washington Heights and record a violin part without realizing what it was going to be part of — he’d run all over, assembling [bits]. I’ve had a long collaboration with him [Peck has based six ballets on Stevens’s music, beginning with “Year of the Rabbit” for New York City Ballet in 2012], so it feels full circle, having discovered that album as a teenager.”

What he’s nervous about: “It’s not a conventional musical; it lives between genres. It’s framed as a gathering around a campfire, being intoxicated by the heat … a campfire beckons storytelling. We enter into the worlds of these people sharing stories on an evening in the wilderness. That’s a difficult thing for managing audience expectations. One of the most challenging parts is trying to tell a full story without words. There are lyrics, but even the lyrics have a sense of poetry to them. They’re not literal.”

How he brought on board his collaborator Jackie Sibblies Drury: “Sufjan was involved early in developing the musical arrangements but has been relatively hands-off [since being diagnosed with Guillain-Barré syndrome, an autoimmune disorder, last year] and wasn’t in a place where he wanted to go back to that time in his life. I needed a storytelling partner. Jackie told me how much she loved the album; when she moved to Chicago, she and her then boyfriend listened to it on the road there. A lot of these songs resonated with both of us at a coming-of-age time in our lives, and that’s part of our approach: intimate and personal.” — J.A.R.

Production: Shay Johnson Studio. Photo assistants: Shinobu Mochizuki, Tom Rauner. Digital tech: Kyle Knodell

Stella, photographed at Percy Priest Lake Park in Nashville on March 7, 2024.

Stacy Kranitz

Name: Maisy Stella Profession: Actress and singer Age: 20

Debuting in: “My Old Ass,” a coming-of-age comedy in which her character, Elliott, a young woman leaving her small Canadian hometown for college, meets her 39-year-old self, played by Aubrey Plaza, while tripping on mushrooms. In theaters this August, it’s Stella’s first movie — and her first acting project since spending much of the past decade on the TV series “Nashville” (2012-18), in which she played a country star’s singer daughter.

What she’s excited about: “Being reintroduced in a way that feels true to me. I was a baby when ‘Nashville’ started; it’s hard to have people see you as a character for so many years. You have to be careful with the next thing you do, especially after you take a break [to finish high school], and I wanted to be represented in a way that felt genuine and pushed me in the direction I wanted to go. I thought a project like this would come 10 years down the line, if ever.”

What she’s nervous about: “I think I confuse anticipation with anxiety. I just feel general anticipation all the time, whether it’s about a date this weekend or this movie coming out; it’s that feeling that something’s about to happen. In my body, I might confuse it with nerves, but there are happy and cozy feelings, as well, so it levels out.”

How she collaborated with the writer-director Megan Park on her dialogue: “I watch a lot of young adult shows and think, ‘Oh my God, we sound so dumb. We don’t talk like that.’ Not everything’s abbreviated and slang. Megan [who’s 37] knows how to write for Gen Z because she includes us in her process. She doesn’t have an ego and molds her characters to who’s playing them. We’d do scripted takes and then ‘fun runs,’ where we got to improv, and she’d add lines in the moment.”

What was it like creating the template for Plaza’s character: “You’d think Aubrey would’ve come first, but I was the first one attached to the film. In any other situation, it’d be me matching her, but I feel like Elliott is very similar to me so, when Aubrey and I met, I could feel her filming me with her eyes, trying to get a scope.” — J.A.R.

Hair and makeup: Laura Godwin

Lakota-Lynch (bottom row, in a white T-shirt), photographed at Open Jar Studios in Manhattan on Feb. 26, 2024, along with (top row, from left) the “Outsiders” composer Zach Chance, the choreographers Rick and Jeff Kuperman and the writer and composer Justin Levine; (middle row, from left) the actors Brent Comer, Jason Schmidt, Joshua Boone, Kevin William Paul and Dan Berry; (bottom row, from left) the actors Emma Pittman and Brody Grant, the director Danya Taymor, the writer Adam Rapp and the actor Daryl Tofa.

Justin French

Name: Sky Lakota-Lynch Profession: Actor Age: 32

Debuting in: “The Outsiders,” a new musical that opened this month and is based on S.E. Hinton’s 1967 novel about rival teen gangs. Lakota-Lynch plays Johnny Cade, a shy 16-year-old from an abusive home. He appeared in “Dear Evan Hansen” in 2018, but this is his first time originating a role on Broadway.

What he’s excited about: “I’ve been with the show for six years, and it finally feels fully baked. People are going to be expecting us to come out tap-dancing, but you have [the writer] Adam Rapp and [the director] Danya Taymor, and those people have never done a musical. It’s the ultimate place for an actor-singer. It’s truly a play with music [by Zach Chance and Jonathan Clay of the folk duo Jamestown Revival, and the songwriter Justin Levine], and I think it’s going to shock people.”

What he’s nervous about: “It’s going to be sad to eventually let Johnny go. I’m doing this on Broadway, but it’s like the period at the end of the sentence.”

The actor sings a snippet of James Taylor’s 1970 song “Fire and Rain.”

Video by Jordan Taylor Fuller

How he’s approaching playing a beloved character: “Johnny doesn’t have a lot of lines: He’s like an Edward Scissorhands [type] — I have to fill the space with energy. The cool thing about playing the character is that I got to imbue him with myself. I’m Native American and Black, and the story is set in Tulsa, Okla., where that’s [not uncommon]. My costume has Native American embroidery; my version of Johnny feels fully fleshed out. Of course, I stole things from Ralph [Macchio, who played the role in the 1983 Francis Ford Coppola film] and from the novel — it’s that fine line between tough and tender, but it’s tailored to me.” — J.A.R.

Production: Shay Johnson Studio. Photo assistant: Shen Williams-Cohen

Becoming a Character

The comedian and actress Meg Stalter, photographed at Smashbox Studios in Los Angeles on Jan. 24, 2024, tests a few moods in front of the camera.

Photographs by Shikeith. Styled by Delphine Danhier

The comedian and actress Meg Stalter, 33, started gaining attention on social media during the 2020 Covid-19 lockdowns when she posted absurd short-form videos playing different personae, like a Disney World team leader conducting an employee orientation. The following year, she had her TV debut on HBO’s “Hacks” as Kayla, a less than helpful assistant to a talent agent. Now she’s filming her first lead role on the new Netflix series “Too Much,” written and directed by Lena Dunham (and loosely based on Dunham’s life), in which she plays the workaholic Jessica, who responds to a breakup by moving to London.

I took so many improv classes when I first [was] doing comedy. It’s the starting point for me when I develop characters. During the pandemic, I’d do improv on Instagram Live every night. The theme would be “We’re going to Paris” or “We’re doing a women’s exercise class.” It was just me doing improv online by myself for hours. When I take on a role, I study the script and imagine if I had to improv a scene. “What would I add or take away? How’s this person different from me? What could I give to the character of my own personality?”

When I read the part of Kayla, I’d already met Paul [W. Downs, a co-creator of “Hacks”] at a stand-up show. [I found out later that] he had me in mind when he wrote the script. That was almost more nerve-racking: It was strange to think, “What if I lose this part to someone else but they were thinking of me in the first place?”

Kayla started as the assistant who comes in and says a crazy line. But in the third season of “Hacks,” she has more emotional scenes, which add another layer: When a character experiences a range of emotions, it makes the crazy stuff even funnier.

The comedian and actress tells a knock-knock joke.

At first when you get a script, you picture yourself in it and think, “Oh, well, she probably looks like me.” That changes the more you get to know the character. Lena [Dunham]’s been so open to talking through Jessica. She’ll say, “Tell me what you think about the hair,” and, “Tell me if there’re any outfits you don’t like.” She even made a playlist Jessica would listen to. There’s Avril Lavigne, Girlpool, Sabrina Carpenter. When I’m studying the script, I’ll play that in the background. Jessica’s into the dreamy side of London and Jane Austen. She’s a little girlie and wears a lot of pink. She wears [nightgowns] as actual dresses and things that’re a little bit too cute for work. I sent [the costume designer] Arielle [Cooper-Lethem] some dresses from Fashion Brand Company. They look like [they could be in an Austen adaptation] but modern and sexier. Like shirts with ribbons all over or matching sets made of lace. Everything’s kind of funny but also hot. It’s stuff I would’ve worn when I thought I was straight. I feel like Jessica’s the straight version of me.

It’s interesting to be playing a version of someone whose work I’ve admired for so long. I’ve rewatched [Dunham’s 2012-17 HBO series] “Girls” so many times. To have everything she’s written in my head but be told, “Just do it the way that you would do,” or, “This is all yours now,” it feels freeing. There’re some directors and writers who want you to say exactly what’s on paper.

When you’re in character in front of a camera, there’re certain things you can’t prepare for. I can research so much for a part — create memories for the character, talk through costume — but if it comes out differently [than what I imagined], that’s OK. It’s important to be able to let go and let the scene be what it is. Some people torture themselves after performing. They’re like, “I should’ve said this or that.” I really don’t do that. Once it’s out there, that’s what it’s supposed to be.

Stalter wears, from start: Versace dress, $1,990, versace.com ; and Alexander McQueen ring, $690, alexandermcqueen.com . Versace dress and headband, $325. Wray shirt, $185, wray.nyc ; Dolce & Gabbana dress, $2,095, dolcegabbana.com ; and Sophie Buhai earrings, $395, ssense.com .

Production: Resin Projects. Hair: Tiago Goya. Makeup: Holly Silius. Manicure: Pilar Lafargue

Making a Painting

The artist Roberto Gil de Montes, photographed at his studio in La Peñita, Mexico, on Feb. 13, 2024, painting “Man With Lizard Mask.”

Photographs by Nuria Lagarde

Since 2005, the painter Roberto Gil de Montes, 73, has lived and worked in the fishing village of La Peñita de Jaltemba north of Puerto Vallarta on the Pacific coast of Mexico. He was born in Guadalajara but moved as a teenager to Los Angeles, where he was active in the Chicano art movement. It wasn’t until he took part in the 2020 show “Siembra” at the gallery Kurimanzutto in Mexico City, though, that the art world took notice of his dreamlike Surrealist works. Next year, Gil de Montes will be the subject of a career survey at the Los Angeles County Museum of Art.

I live in a place where there’re no museums or galleries. I’m inspired by my surroundings — by the jungle, by the ocean. I often say there’s no better background than the ocean for painting. I have two studios: one at home, where I work on paper, and a painting studio in town near the ocean. Usually, I start at home on paper. I either sketch or use watercolor wash. If I’m going to do an oil painting, I go to the studio in town. Before I work, I might just sit around and look at books — I like [monographs about Henri] Matisse, [Paul] Cezanne, [Edouard] Manet. It’s sort of a meditation. A lot of times, an idea surges when I’m working on something already; other times, it might be a memory. Or a dream. The other day, I had a dream that I was taking a photo with my phone of a house on fire — but I was conscious that the house was a drawing. [When I woke up] I thought, “Well, I should do a painting of that.”

I’m very intrigued by how memory works and how the memory of something can trigger [a new idea]. [While putting together the career survey] I’ve revisited all of these old works of mine. Some I remember painting. Others I don’t remember at all. I’m 73 years old. I forget things, and then I start thinking, “Wow, this is interesting because if I’m working from memory and forgetting things, how’s that going to affect the work that I do? How can I explore that?” For instance, somebody sent me a painting they said was mine. I said, “No, I didn’t do that painting. I’m sorry,” only to find out that I’d signed the back. A lot of the ideas I’ve been working on come from the past. In the [2022] Venice Biennale, I had a painting [“Up,” 2021] of somebody hanging upside down or falling through the sky. That came [about] when I walked into the studio and noticed I had inadvertently put a painting upside down. I said, “Actually, that’ll make a good painting upside down.” I don’t know how other artists work. I’m very open to ideas.

Reimagining a Retrospective

The conceptual artist Jenny Holzer, photographed at her studio in upstate New York on Feb. 6, 2024, with LED text from her series “Survival” (1983-85), which will be on view at her exhibition at the Solomon R. Guggenheim Museum from May through September.

In 1989, the conceptual artist Jenny Holzer installed an LED scroll of aphorisms — “Abuse of power comes as no surprise” is among the most famous — on three of the six internal ramps of the Solomon R. Guggenheim Museum in New York. It was part of her retrospective “Untitled (Selections From Truisms, Inflammatory Essays, the Living Series, the Survival Series, Under a Rock, Laments and Child Text).” Next month, Holzer, 73, will restage the work there as part of her show “Jenny Holzer: Light Line” (which will also include other pieces from her 50-plus-year career). But this time, the LED installation — which will display the original “Truisms” and other text series — will go all the way to the top.

I’m a self-loathing, slow study so [ahead of the 1989 retrospective at the Guggenheim] I had to walk and walk around and around and around the museum. It finally occurred to me, “Oh, around and around is the answer [to how the piece should be displayed].” I’m relieved I attended to what Frank Lloyd Wright did: The building is magnificently, utterly self-sufficient. It doesn’t necessarily need art, and it’s inclined to shrug it off at times.

As I was developing the new exhibition, I started walking the museum again — and not just the ramps. I went up and down the stairs a few thousand times. I went in the elevator, in assorted bathrooms, in nooks and crannies. And in those places, I put everything from the first diagrams I made in the ’70s on up to icky paintings made by A.I.

The conceptual artist discusses a sculpture by the artist Louise Bourgeois.

Video by Joshua Charow

If I have a specialty, and I’m not certain that I do, it’s installation. I like hunting and seeing. The first step is to go blank, with no preconceptions. And then, since it is visual art, using my eyes to see. Then that mysterious thing happens: Ideas come — when you’re lucky. Otherwise, you try again.

When I’m just trying to make a new artwork for anywhere, it’s adequate to lie on the couch with my eyes closed and wait for that pizza to arrive — the “art” pizza. But when I’m [fortunate enough] to be in a building like Wright’s Guggenheim, it’s — surprise, surprise — necessary for the body to be in the space. Alert, alive, all tentacles reaching out, all senses going. And on some level, being hopeful.

Photo assistant: Ece Yavuz

Adapting an Ibsen Play

For the second time, the playwright Amy Herzog, 45, has adapted a work by Henrik Ibsen. The first was “A Doll’s House” (1879), starring Jessica Chastain. Herzog’s latest staging, “An Enemy of the People” (1882), stars Jeremy Strong as Dr. Thomas Stockmann, a physician who is shunned for warning his town that its lucrative public baths are contaminated. Michael Imperioli plays his brother, Peter Stockmann, the mayor, who seeks to suppress Thomas’s findings.

When I begin an adaptation, I first read a few different translations of the play. Then I try to get those out of my head. For “A Doll’s House” and now “An Enemy of the People,” I’ve worked with a translator named Charlotte Barslund. She does a literal translation in English, which stays as close to the feeling and meaning of the original Norwegian as possible. I go through that line by line, translating it into my own words without making any big decisions. Once I have my first version, I start the bigger work of cutting. For “An Enemy of the People,” we cut three characters. I decided to cut the character of Katherine, Thomas Stockmann’s wife, after a lot of conversations with Sam [Gold, the play’s director and Herzog’s husband]. Her sections weren’t working; they were feeling really turgid. There’re sections that his daughter, Petra [played by Victoria Pedretti], could pick up if Katherine was gone.

What was remarkable about cutting Katherine was realizing how little had to change. The fact that you didn’t have to do major surgery on the play was one tell that cutting Katherine was a good idea. It gives Stockmann this recent terrible grief. It’s a particular grief when you’re a doctor, I think, to lose a spouse — to be the doctor who can’t save your loved ones. That spring loads the play as it begins: He’s reaching a place where he can have happiness again — [only] to be completely betrayed by his community and to lose everything he’s finally gained.

Ibsen wrote domestic psychological plays and social plays. “A Doll’s House” is the former and “An Enemy of the People” the latter. [When adapting “A Doll’s House”] I learned some pretty basic things about the mechanics of making it feel leaner and more modern. But other than that, it was shockingly different to translate them and humbling that he had plays that were so totally different inside of him. This play is bigger and rangier and even more relevant than “A Doll’s House.” It’s very timely — there’re a few headlines it brings up. One is climate change. I was reading a lot about scientists who weren’t listened to when they tried to sound the alarm years ago. I was also reading Naomi Klein’s [2023 memoir] “Doppelganger” and thinking about the way the body politic becomes sick. I try to do a lot of research before writing — I read a fair amount of Ibsen biographies — so there’s no single influence that’s too loud while I’m working. When I’m really doing the translation, I need quiet and cloistering. So there’d be gaps in my communication with [Jeremy] and everyone else. Then there’d be the moments, after reading a draft, when it was time to talk and become porous again.

Jeremy was the reason for the production. From the moment I began to work on “An Enemy of the People,” I knew who was playing Thomas Stockmann. I’ve known Jeremy since 1997, and I’ve seen a ton of his work, so his voice was influencing the way I adapted that character.

[Jeremy and Dr. Stockmann] are similar in that they both have a total commitment to what they believe in. Having someone in my life with that kind of devotion to his craft and to his storytelling means that I’m coming to [the character] with the texture of a real, contemporary person. Every few days, he sends me a poem or an article or something that’s meant something to him related to the play. He sent me the William Butler Yeats poem “A Coat.” The first three lines are “I made my song a coat / Covered with embroideries / Out of old mythologies.” There’s this incidental line in Ibsen’s original [script] that people often cut — but I didn’t, I love it — when Captain Horster [Dr. Stockmann’s loyal friend] makes his first entrance before you even see Dr. Stockmann, who says, “Hang your coat on that peg. Oh, you don’t wear an overcoat?” Captain Horster is this character who has no pretense and is an uncorrupted type of human. And Ibsen has him coatless at the beginning. So the idea of a coat and what it is to cover yourself has become an interesting thematic touch point for us.

Putting Up a Gallery Show

Since graduating from the Rhode Island School of Design in 1999, the visual artist Joe Bradley, 49, has made a habit of reinvention. His style continuously shifts, from mixed-media sculptures to line drawings to highly saturated large-scale canvases. His most recent exhibition of paintings opens this month at David Zwirner gallery in New York.

I tend to arrive at my studio [in Long Island City, Queens] around nine, turn the lights on, make a pot of coffee. Then, depending on what sort of stage the paintings are at, I’ll just start working. If it’s early on [in the piece], I’m much more active. When the paintings [begin] to come together, it’s a lot more about just looking and making little decisions to resolve things. I don’t have a real ritual. I don’t even have to be in any particular state of mind. If I’m distracted or depressed or happy or whatever, I just come in and see what happens.

I do begin with some practical decisions. I know how big the painting is going to be and what sort of surface I’m going to be working on. I know what the contour of [a show] will look like. I don’t make any sort of preparatory sketches — the paintings reveal themselves to me through the process of working on them. But the deadline [for the show] ends up being this organizing force. It’s the day your entire year revolves around, the time [by which] you know the paintings will have to be presentable and cohesive. It’s helpful to have that because, otherwise, you could keep things up in the air indefinitely.

When I paint today, I might be responding to a mark on the canvas that I made six weeks or six months ago. What I’m doing early in the process isn’t going to be available visually by the end — most of it’ll be painted out or it’ll disappear in the process. I lay traps or create little problems for myself to encounter. It’s almost like the uglier it gets in the early stages, the better the painting will be.

Building an Installation

The artist Suzanne Jackson, photographed at her Savannah, Ga., studio on Feb. 1, 2024, works on a piece that will eventually be installed on a terrace at the San Francisco Museum of Modern Art.

Kendrick Brinson

The Savannah, Ga.-based artist Suzanne Jackson, 80, has worked as a dancer, a set and costume designer, a professor and a poet — but most notably as a painter. Jackson describes her ethereal compositions as “anti-canvases,” which she creates by building up layers of acrylic paint and at times found materials, including netting and produce bags. In 2025, she’ll display a selection of work from her six-decade career, along with a new site-specific installation, as part of a retrospective at the San Francisco Museum of Modern Art.

I’m working on a commission for the fourth-floor terrace of [SFMoMA]. It’s an installation that’ll climb the walls of the terrace and partially fill the open space. My approach is quite different than if I were working on a painting in my studio: I have to think of it in an architectural or sculptural sense. There’re technical aspects, so I’ve been doing a lot of research in airports and from airplane windows, looking at large-scale structures that don’t fall down — things on the rooftops of buildings like windsocks or poles. This piece will be built from the ground up, unlike my other work that hangs from the walls or ceiling.

I don’t go looking for ideas. I just go into the studio and start painting. Now that I’m older and not teaching, I don’t have to do anything except paint. In the morning, I roam around the house. I do the laundry. I feed the cats. I look out the window and stare at nature. I have a big window at the end of my kitchen and can see tall trees and birds and animals and insects. I go through the studio to get to the kitchen from my bedroom, so sometimes I end up stopping and looking at work I’ve already done. There’s a lot of sitting and thinking and looking. Sometimes, I’ll turn on music — Charles Mingus and Eric Dolphy or Yo-Yo Ma. On Mondays and Fridays, it’s [the Savannah radio D.J. and jazz historian] Ike Carter’s show “Impressions.”

As the music flows, so does the paint — that’s a spiritual environment to be in. Other times, I’ll work in absolute silence. At the beginning, I explore. I’m never quite sure what’s going to happen. Usually, it comes spontaneously. One brushstroke leads to the next, and then it becomes another idea. I might think I have one idea when I start, but it often changes along the way to be something completely opposite. I’m just having a good time being a painter. That’s how I started, and it’s how I’m going to end.

Photo assistant: Dayna Anderson

Lorraine O’Grady,

89, new york city.

The multidisciplinary artist and critic, whose solo show at Mariane Ibrahim gallery in Chicago opens this month.

Lorraine O’Grady’s “Announcement Card 2 (Spike With Sword, Fighting)” (2020).

© Lorraine O’Grady/Artists Rights Society (ARS), New York, courtesy of Mariane Ibrahim, Chicago, Paris, Mexico City

I thought I was going to be a writer. My family tells me that I made my first poem when I was a year and a half old: “I like mice because they’re nice.” [In my early 30s, after working for five years] as an intelligence analyst, I went to the Iowa Writers’ Workshop for fiction. I hadn’t really been reading fiction, though, so I wasn’t very good at writing it. I spent most of my second year there translating short stories written by my instructor [the Chilean novelist] José Donoso.

Growing up, I had all these exposures to beauty. I’d gone to the Museum of Fine Arts in Boston as a child and seen [Paul] Gauguin’s “Where Do We Come From? What Are We? Where Are We Going?,” a painting that continues to influence me. And my mother was a dress designer. She redid our house every six months. By the time I was 10, I basically had everything that I’m now working with in place, but I didn’t have the language. I didn’t get that language until the early 1970s, when I read [the critic and curator] Lucy Lippard’s “Six Years: The Dematerialization of the Art Object From 1966 to 1972.” [Then] I was ready. The ideas for my visual art already existed within my experience. I just hadn’t known they were art before.

A few years later, when I was in my early 40s, I had to have a biopsy of my breast. After — thank God, it was negative for cancer — I was thinking about what I could give my doctor as a thank-you present. Reading my copy of the Sunday New York Times, I saw a line in the sports pages about Julius Erving that said, “The doctor is operating again.” I said, “OK, this could be the start of something,” and I made a really good poem for my doctor [out of words clipped from the newspaper]. But when I finished the poem, I said, “This is too good to give to him.” Then I immediately started making newspaper poems for a project called “Cutting Out The New York Times.” I made one every week for 26 weeks. When I finished, I realized that I’d become a visual artist — or revealed that I was a visual artist. — interview by J.C.

Toni Morrison,

The author of 11 novels, including “Beloved,” “Sula” and “Song of Solomon.”

By the time Toni Morrison wrote “Beloved” (1987), her best-known novel, she’d worked for nearly two decades as a book editor. Her debut, “The Bluest Eye” (1970), was published when she was 39 and, while not a commercial success, was critically praised. She published three more books between 1973 and 1981 — including “Song of Solomon” — while still at her editing job.

Prior to going into publishing, Morrison — who had a master’s degree in American literature from Cornell University — spent nearly a decade teaching college English. After her divorce, she worked for a textbook division of Random House before joining Random House proper as its first Black female editor; there, she championed and published Black authors such as Angela Davis, June Jordan, Gayl Jones and Toni Cade Bambara. “I didn’t go to anything. I didn’t join anything,” she once said about the civil rights movement. “But I could make sure there was a published record of those who did march and did put themselves on the line.” All the while, Morrison was waking by dawn to write before heading into the office. She’d later describe those sessions as a form of liberation: “The writing was the real freedom because nobody told me what to do there. That was my world and my imagination. And all my life it’s been that way.”

For many years, Morrison considered her day job essential to her art. “I thrive on the urgency that doing more than one thing provides,” she once said. But the industry had its difficulties — the overwhelming whiteness, the increasing commercial demands — and she left her position in 1983. Four years later, at age 56, she published “Beloved.” In a preface to the 2004 edition of the book, she looks back on the rush of feelings she experienced following her last day at the job. “I was happy, free in a way I had never been, ever. It was the oddest sensation. Not ecstasy, not satisfaction, not a surfeit of pleasure or accomplishment. It was a purer delight, a rogue anticipation with certainty. Enter ‘Beloved.’”

65, New York City

The multidisciplinary artist and former drag performer, whose paintings are currently on view at the Dallas Contemporary art space and the MassArt Art Museum in Boston.

A 2023 acrylic on canvas by Tabboo! titled “Lavender Garden.”

My mother put me into an art class when I was 15 at the Worcester Art Museum, and then I went on to art school [at the Massachusetts College of Art and Design], where I majored in painting and fine art. I remember my first sale, to my aunt Julie. She wanted me to copy [Jean-François] Millet’s “The Gleaners.” I didn’t want to copy someone else’s stuff — I think one of the reasons I’m popular is that I’m very original — but I still did the painting, of course. It was a commission and I was being paid!

I started performing drag in nightclubs when I moved to New York in 1982, but I’ve always been painting, too. This isn’t something I just came up with, like, “Oh, I can’t get on ‘RuPaul’s Drag Race,’ I better start painting.” I had one-man shows and gallery exhibitions right after graduating from art school. Elton John and Gianni Versace bought my paintings. I don’t want anyone to have the impression — which certain people seem to — that I took up painting just because I stopped doing drag. I might be getting a bit more attention for it now, but I’ve always been doing it.

I usually get up at four in the morning. I feed my cat and then start painting. A lot of my paintings are sunrises. And I do sunsets and cityscapes. Or if it rains in a weird way, I’ll do a rain painting. It’s a very spiritual, meditative, private thing. There isn’t a day that goes by that I haven’t done something, and so my work gets better and better and better. And I must say, I’m a master of my craft now.

Sometimes a collector will ask, “Can we come over to the studio and watch you paint?” I tell them no. I usually do it naked. — interview by J.C.

Justin Vivian Bond,

60, new york city and the hudson valley, n.y..

The performer and multidisciplinary artist, whose work has been exhibited at Participant Inc. and the New Museum in New York City, and will be on view at Bill Arning Exhibitions in Kinderhook, N.Y., in May.

Justin Vivian Bond’s watercolor “Witch Eyes, by Viv, to Protect You From Evil Chodes: Lois” (2024).

When I was in high school, I was interested in visual art as well as music and acting, but I decided to major in theater in college because I thought it was a career that could get me out of Maryland and allow me to move to New York. I became a performer, and I’ve been doing cabaret for many years. In 2008, when I broke up my cabaret act Kiki and Herb, my rent was so cheap that I didn’t have to work as much. I started painting again, and it flows very naturally for me.

My watercolors are primarily portraits of people I know. I’ll ask them to pose for a photograph and then paint from that. I also make pseudo fan art, like my “Witch Eyes” series, which is based on iconic photographs of celebrities’ eyes. The wonderful thing about painting is that you have total control over it, if you’re lucky. Onstage, there’re so many variables. And with painting, you don’t have to be there [when people see your work]. I love being in front of an audience, but I don’t really love being among people. The pleasure for me is singing but, when the show’s over, I have to talk to a lot of people. I like all of them, but there’re too many, so it can be a little overwhelming. You don’t ever get to connect on a deeper level. The most satisfying times in my life have been when my shows have been installed and it’s the night before the opening. All of it’s exactly how I want it — the room, the lighting — and I just sit there and look and have this sense of utter satisfaction. — interview by J.C.

Wallace Stevens,

The poet, whose best known works include “The Emperor of Ice-Cream,” “The Snow Man” and “Anecdote of the Jar.”

Wallace Stevens never quit his day job. Though he had literary ambitions as a young man, serving as the editor of the Harvard Advocate as an undergraduate, he earned his degree from New York Law School and in 1916 joined the Hartford Accident and Indemnity Company, where he remained, specializing in surety and fidelity claims, until his death, in 1955. Yet he was writing all the time: on his daily walk to work, at home in the evenings and sometimes in the office.

It wasn’t until 1914, when Stevens was 34, that his first post-college poems appeared in literary journals. He went on to publish seven volumes of poetry over the course of his lifetime. The first, “Harmonium,” released in 1923, sold fewer than 100 copies; the last, 1954’s “The Collected Poems of Wallace Stevens,” won the Pulitzer Prize.

The themes of Stevens’s work — the affirming power of art and beauty, the sublime contained within the mundane — suggest one reason why he stuck with insurance law even as his artistic acclaim grew. His steady paycheck would have allowed writing to remain a purely creative act. In his essay “Surety and Fidelity Claims,” Stevens says of his insurance work, “You sign a lot of drafts. You see surprisingly few people. ... You don’t even see the country; you see law offices and hotel rooms.” Poetry, on the other hand — as he characterizes it in 1923’s “Of Modern Poetry” — “must be the finding of a satisfaction.” It was his livelihood, in the most artistic sense of the word.

Theaster Gates,

50, chicago.

The University of Chicago professor and multidisciplinary artist, whose solo shows at the Gagosian gallery in Le Bourget, France, and the Mori Art Museum in Tokyo open this month.

Theaster Gates’s sculptural work “Sweet Sanctuary, Your Embrace” (2023).

© Theaster Gates. Photo: © White Cube

In 2000, I took a job as the arts planner at the Chicago Transit Authority. There was so much new construction happening there, and my role was to appeal to the Federal Transit Administration for a portion of the transit money to be set aside for public art. In a way, it was like an M.B.A.: I managed $26 million over four or five years. My negotiating skills went through the roof.

I’d graduated from Iowa State [in 1995] with a degree in community and regional planning and then did a [post-baccalaureate] in religious studies and fine art at the University of Cape Town. After that, I spent time in Japan studying ceramics. So when I came to the C.T.A., my background incorporated both art and community and, every day, I was leaving there and going to my ceramics studio.

In 2005, I left the C.T.A. because I outgrew the position, and I stopped making pots because I couldn’t afford my studio. I started using more recycled materials in my work [such as wood pallets]. It was during this period that I was starting to combine my knowledge of minimalism and conceptual practices with my background in building and working with my dad, who was a roofer. Now buildings have kind of become my primary monuments, and the project management and team building that I learned at the C.T.A. are really evident in the way that I create.

I did a project at the New Museum [that opened in late 2022 and] was essentially an exhibition about mourning and loss. My father had died six months prior to the opening, and I didn’t have time to mourn his death or the deaths of dear friends like [the fashion designer] Virgil Abloh, my mentor [the Nigerian curator and art critic] Okwui Enwezor, [the author] bell hooks and [the film scholar] Robert Bird. The show grew out of a desire to grapple with my feelings and honor these people. The museum didn’t necessarily have the budget to do all of the things that I wanted to, so I had to figure out, “Are there poetic ways to articulate loss that don’t require substantial build-out, or big, fancy gestures or expensive audio equipment?”

Ultimately, I included Bird’s 9,500-volume library, and Virgil Abloh’s widow loaned me his yellow diamond-studded necklace. Those were moments when limitations built new friendships and more nuanced opportunities, and I feel like having been a planner’s what made me willing to pick up the phone and say, “Hey, would you be willing to collaborate with me?” — interview by J.C.

Remember That You’re Never Truly Equipped to Start Anything

As actors, we feel like we have to be ready, but I’d say you’re never ready. You’re not prepared for something you’ve never done before, so let go of that. This past year I did some symphony gigs for the first time, and it was incredible. It was better than being ready, because I just had to be new. — Ali Stroker, 36, actress and singer

Myha’la in season one of “Industry,” 2020.

Amanda Searle/HBO

Embrace Fear — but Come Prepared

I have the curse of perfectionism, and there’ve been so many projects where I’ve said, “I’m not right for that, so I’m not going to audition.” But that’s kind of lazy, so I’ve rewired my thinking: If something’s targeting some insecurity in me, why not take the opportunity to work on that thing? I used to avoid anything with an accent but now, if I got the call for “Bridgerton,” I’d feel confident enough to go for it. Definitely do your homework, though. With almost every trading scene in “Industry,” I’ve thought, “Nope, I’m not going to be able to get the words out.” I don’t sleep the night before, and I’m wrecked the next morning. Then everything pours out because I’ve come in prepared. Filming the first season of “Industry” in 2019 was the first time I’d been on a job longer than five days, the first time I’d worked out of the country, the first everything, and I was so nervous. Go toward things that scare you. — Myha’la, 28, actor  

Make Yourself Start

Deciding what’s a good idea is an ongoing battle. But you can only think about something for so long before you just have to try it. Someone once told me that when he makes a painting he likes, he’ll make another one with the same idea to see if it holds up and then another, which I thought was pretty good advice. Sometimes I force myself to go to my studio and start painting [Gordon initially set out to be a visual artist and started focusing more on her art practice about 25 years ago], even if I don’t have an idea. I like conceptual thinking, but I also like the physicality of painting. Usually that leads me to something and, even if it doesn’t — what am I going to do, sit around and watch movies all day? — Kim Gordon, 70, musician and visual artist

Put Yourself in Your Body — and Your Past

Sometimes painting can feel like this dream I have where I’m in the back of a moving car and I’m reaching over to the front seat to try to get control. That’s a nervous system in panic. There’s a grounding exercise I like to do where I jump and really feel my feet smack the floor — trying to get yourself back into your body’s part of the trick. And then I go, “Well, who’s dreaming?” If you can get there, you’re lucid in the dream, and that’s a good place to be. Still, feelings will come up that you don’t want. When I was working on this satyr painting, suddenly the satyr was my old friend Chris, who betrayed me when I was 18 to a group of guys who beat me up. I thought, “Why am I painting Chris? I don’t want to paint Chris.” I was in flow for a while but, when I hit this painting, I experienced self-doubt and thought, “People are going to think these paintings are awful.” Then I went on Instagram and liked one of his pictures. It felt like a weird, brave task. And he wrote to me and asked if he could call me, 26 years after ghosting me, and he apologized for 20 minutes. I cried and I think he probably cried, and I felt it all melt away. And then I went back to the painting. — TM Davy, 43, artist

Kim Gordon in 1990.

Laura Levine/Corbis via Getty Images

Psych Yourself Out

If things are too hard, something’s wrong, but you also have to embrace the awkward feelings. See if you can fool yourself — I used to get self-conscious about drawing when I was a teenager in an art class with a model, and the teacher said, “Don’t think of it as drawing. Think of it as designing the page.” That really loosened things up for me. It’s amazing what you can do if you pretend. — Kim Gordon

When people say they’re self-taught, it means they asked somebody else how they did it. When I began in folk music, I went to the clubs and I begged and borrowed and asked. [More recently, having taken up painting acrylics a little over a decade ago,] I was painting [Anthony] Fauci and couldn’t figure out how to do his glasses. I called an artist friend and she had all these tricks — “Don’t try to copy the photograph,” she told me, “just use dabs of paint here and there to give the impression of glass.” It didn’t take more than 45 minutes to learn how to put glasses on Fauci. Without her, I would’ve struggled for weeks trying to get it right. — Joan Baez, 83, singer-songwriter, activist, painter and author

Don’t Sweat the End — and Work on More Than One Thing at Once

Remember that the maker almost never knows exactly what they’re making in advance. The great works often appear when we’re aiming toward something completely different. Start as soon as you see a way in. I [also] find it helpful to work on multiple things at the same time. Not in the same moment but during the same general time period. The beauty is that different projects are at different stages, so you can avoid getting burned out on any one [thing]. We can step away, work on something else and come back with new eyes, as if we’re seeing it for the first time. Tunnel vision’s easy to fall into when working on a single project for a long period. We can end up getting lost in details nobody else will ever notice, while losing touch with the grand gesture of the work. — Rick Rubin, 61, music producer and author of “The Creative Act: A Way of Being”

Murray Hill in 1996.

Catherine McGann/Getty Images

Treat Procrastination as Productivity

There were certain things I couldn’t do during the [SAG-AFTRA] strike, but I did get a book deal. It’s called “Showbiz! My Unexpected Life as a Middle-Aged Man,” and I’ve got to get that done — by June 1st! I’m used to being onstage. When I’m sitting at my desk in my studio apartment, I procrastinate quite a bit, and I’m always asking myself, “Is this part of the creative process for me, or am I just making my life harder?” But I also procrastinate in productive ways. I go for a walk — in rehab, they taught us, “Move a muscle, change a thought.” Then I come back and put on jazz music. Doing that removes the blocks, probably because jazz is so much about improvisation and I’m at my core an improviser. Another thing I’ll do to light the match is turn to others’ work. I’ll watch Dean Martin videos or a documentary or old game shows. For this memoir, I’ve been reading memoirs by other people — Gary Gulman, Viola Davis, Maria Bamford, Leslie Jones, Aparna Nancherla — and not only does that awaken my creative senses, it triggers memories. — Murray Hill, 52, comedian, actor and writer

Be Comfortable With Discomfort

There was a time when [my] body was always ready, and when I had so many axes to grind and windmills to chase [that] something would come out. Now I can’t just depend on my body being there — that I’m going to bust a move and seduce — so I have to be a little more strategic: “What’s the idea? Does it serve anyone other than you?” I’m trying to reaffirm for myself that what I have left in me to say is worth saying. Doubt is always with us, and it burns like fire. But if I refuse to give up the mantle of being a creative artist, I’ve got to do something. [You might say] “Well, why don’t you just love a child? Why don’t you go work at a soup kitchen down the street?” Because I’m a self-involved son of a bitch. Procrastination says, “I don’t dare,” but can you live with yourself if you don’t? So how do you start? Terror. Guilt. Fear. All negatives to this generation of young people who don’t ever want to be uncomfortable, but the generation that formed me and my own generation had that feeling that you’re being pushed against and you’ve got to push back, because you’re not like them. As Martha Graham said to Agnes de Mille, “There is only a queer divine dissatisfaction, a blessed unrest that keeps us marching and makes us more alive than the others.” I’ve got to believe that about myself, and the evidence is what I dare to do. — Bill T. Jones, 72, choreographer, director and dancer

If Your Work Goes Up in Flames, Don’t Fetishize the Ashes

One thing that eases the prospect of getting started is remembering that not everything you make needs to be for consumption or even to count as art. I recently spent nine months quietly making these works — mineral paint on cement slabs — and ended up throwing them all away because I decided they were too conventional. You’re not married to your old self, either. In 2013, there was an electrical fire at the studio I’d just moved into, and the building burned to the ground. I lost cartons of negatives and proof sheets that were over six feet tall, as well as photographs — stuff I’d made five, seven, 10, 15 years prior. Of course, it was traumatic and terrifying, but it was also freeing. Eventually I realized it was an opportunity for me to draw a line and stop making a certain kind of work. As artists, we think, “I got known for this type of thing,” or, “This is what everybody seems to like of mine.” A part of me felt, “I have to rebuild this person,” and then I thought, “Well, I don’t,” and I started something else. It was actually one of the most fruitful periods of my creative life. — Anthony Pearson, 55, painter, sculptor and photographer

Joan Baez in 1974.

David Redfern/Redferns via Getty Images

Practice Some Denial

When I was working on “Diamonds & Rust” (1975), I was at a low point of my career and I made a decision that I was going to concentrate on music and quit globe-trotting for different issues. I realized that the music needed my time and attention if it was going to be any good. Learning to live with the state of the world’s a daily practice. Everything we do, we do against the backdrop of global warming and fascism. I never dreamed I’d live in a world this chaotic and discouraging, and I’m overwhelmed but I’m also a great believer in denial — I think that’s where you have to be in order to create, or have fun or dance — providing that we set aside a certain amount of time to come out of denial and actually do something to help. — Joan Baez

Reject Fear. And Put Your Ego to Bed.

Last year, I went through what medical professionals would call a flop era. I’d had three years of the kind of lovely, psychotic busyness that has you hopping from job to job, just following green lights, but then everything went poof — the show I was working on got canceled; the financing for the film adaptation of my novel fell through. I’d been working on such personal things regarding sex and disability and, when those things ended or weren’t [well] received, I began to doubt myself. But then, you’re combating panic, and I started thinking really awful thoughts like, “Do I need to write a pilot where there’s a dead body?” Fear is the most poisonous thing to creativity. You can’t force it, and you have to listen to the work — it’ll tell you what it needs to be. Look at me getting all woo-woo, but it’s true. When you make a living off of writing, not every single project’s going to be from the depths of your soul, but I think there should always be some level of enjoyment. Starting over is really humbling, by the way. Knowing when to stop and when to start over requires giving your ego an Ambien. Real failure is letting your ego drive the bus of your life right off the cliff. — Ryan O’Connell, 37, writer and actor

Alice McDermott, 70, writer

There are three kinds of novels I’ve never taken to heart: science fiction, murder mysteries and novels about novelists. So I’ve decided to try my hand at each. If I fail, they’re probably not books I’d want to read anyway.

Thurston Moore, 65, musician and author

I’m putting the final touches on a new album, “Flow Critical Lucidity.” But after my memoir, “Sonic Life” (2023), came out, I realized my next mission was a novella, the working title of which is “Boomerang and Parsnip.” It concerns two madly in love youths in the wilds of Lower Manhattan circa 1981, and it’s wholly irreal, bordering on fantasy.

Courtesy of Samuel Delany

Samuel R. Delany, 82, writer

I’m writing a guidebook for a set of tarot cards I designed with the artist Lissanne Lake.

Susan Cianciolo, 54, visual artist

I’m preparing a solo exhibition that will open at Bridget Donahue gallery next month, so I’m making new works and curating older ones. It’ll definitely feature a book of my watercolor tree paintings, “Tell Me When You Hear My Heart Stop.”

Jenny Offill, 55, writer

I’m planning to start a band called Spacecrone. (I’ve stolen the name from a book of Ursula K. Le Guin essays.) It’ll be all female and 55-plus. Our faces will be made up like Ziggy Stardust, but we’ll wear sensible clothes and shoes. What’s kept me from starting it is that I can’t sing or play any instruments.

Alex Eagle, 40, creative director

We’re finessing our bag collection, which we’re trying to make as luxurious, but also as practical, as possible. And I’m planning to write a cookbook with my son Jack.

Jim Bennett/Wire Image, via Getty Images

Earl Sweatshirt, 30, rapper and producer

Making more music — it’s the one thing I always find myself coming back to, though every time I do, I have to overcome intense feelings of self-doubt. I also want to try stand-up, but I’m scared because there’s no music to hide behind. I don’t want dogs-playing-poker laughs, either. You know the [paintings] of dogs playing cards? Like, “Oh, it’s a rapper doing stand-up.”

Alex Da Corte, 43, visual artist

I’ve been writing an opera for some years now based on Marisol Escobar’s [assemblage] “The Party” (1965-66). It’s set at a time when the sun only shines for one day a year, and the players at the party are all wondering how to move forward while holding on to their pasts.

Danny Kaplan, 40, designer

While clay has been my faithful medium for years, I’ve lately been fueled to broaden the scope of my craft by embracing — and learning how to push the boundaries of — new materials like wood, metal and glass.

Kengo Kuma, 69, architect

Getting out of [Tokyo]. I’m doing my best to reduce the burden on big cities — I think humankind has reached a limit when it comes to congestion — and I’ve recently opened five satellite offices in places like Hokkaido and Okinawa.

Raul Lopez, 39, fashion designer, Luar

The thing I’m always meaning to restart is my video blog “Rags to Riches: Dining With the Fabbest Bitches,” an exploration of how food, fashion, music and art all connect.

Charles Burnett, 80, filmmaker

Right now I’m involved in the development of two films. The first, “Edwin’s Wedding,” is the story of two cousins, separated by the Namibian armed struggle with South Africa, who are both planning their weddings. The second, “Dark City,” also set in Namibia, is more of an emotional roller coaster about betrayal and vengeance told in the Hitchcockian mold.

Ludovic Nkoth, 29, visual artist

I’m looking to experiment outside the confines of the canvas — sculpture and video have always been lingering in the back of my head.

Elena Velez, 29, fashion designer

I want to start a series of salons to bring together great minds across multiple disciplines, while feeding the subculture that my work draws from.

Daniel Clowes, 63, cartoonist

I’ve always had the desire to do fakes of artworks I admire — to figure out how they were done, and so I could have otherwise unaffordable artwork hanging in my living room. Painting [with oil] is as frustrating and exhilarating as I remember it being when I was in art school 43 years ago, and my paintings look alarmingly not unlike the ones I did at 19.

Piero Lissoni, 67, architect and designer

I’ve started the design for several new buildings that will become government offices in Budapest. I’d like to start designing chairs, lights, skyscrapers, spacecraft. In truth, I’d like to start doing everything again.

Peter Paul Rubens’s “The Massacre of the Innocents” (circa 1610), Art Gallery of Ontario, Toronto

Robert Longo, 71, visual artist

I’ve been struggling to figure out how best to make sense of the overwhelming images in the news, so I’m turning to the past. I’m working on two monumental charcoal drawings based on paintings [about war]: Peter Paul Rubens’s “The Massacre of the Innocents” (circa 1610) and Francisco de Goya’s “The Third of May 1808” (1814).

Gabriel Hendifar, 42, designer

I’m moving into a new apartment by myself after a series of long relationships. I’m excited to challenge my own ideas about how I want to live and to see how that affects the work of my design studio [Apparatus] as we begin our next collection.

Donna Huanca, 43, visual artist

I’m working on two solo exhibitions. One will be in a late 15th-century palazzo with underground vaulted rooms in Florence, Italy; the other in a modern white cube in Riga, Latvia. For years, I’ve tailored works to the architecture of their exhibition spaces, so I’m enjoying working within this duality.

Satoshi Kuwata, 40, fashion designer, Setchu

We’re about to start offering shoes. I’ve thought of the design. Now I just have to go to the factory and see them in real life.

Aaron Aujla, 38, and Ben Bloomstein, 36, designers, Green River Project

We’re starting a new collection of furniture based on offcuts from the studio that are finished with a modified piano lacquer. Hopefully, a suite of these pieces will be ready for exhibition by fall. We also have a commission we’re excited to start — a large sculptural fireplace made from three unique logs of rare wood.

Adrianne Lenker, 32, musician, Big Thief

I want to start learning how to paint. The few times I’ve tried it, I loved it but also felt daunted by all I needed to learn. I often think of my songs in terms of paintings. My grandmother Diane Lee’s an amazing watercolorist. Recently she gave me a lesson all about gray.

Melissa Cody’s “Power Up” (2023), courtesy of the artist and Garth Greenan Gallery, New York

Melissa Cody, 41, textile artist

I’m starting to create wall tapestries that incorporate my pre-existing designs, which were handwoven on a traditional Navajo/Diné loom, but these new works are highly detailed sampler compositions made on a digital Jacquard loom.

Josh Kline, 44, multidisciplinary artist

I’m working toward shooting my first feature film — a movie, not a project for the art world.

Sally Breer, 36, interior decorator

My husband and I have started building some structures on a property we own in upstate New York — he has a construction company in Los Angeles. We’re using locally sourced wood and are 80 percent done with a studio-guesthouse, a simple 14-by-18-foot box set on foundation screws, tucked into a pine forest. This is the first time we’re really working together as a design-build team. He’s started referring to it as our “art project.”

Eddie Martinez, 47, visual artist

I’m restarting a group of large-scale paintings for an exhibition at the Parrish Art Museum [in Water Mill, N.Y.] this summer. They’re each 12 feet tall and based on a drawing of a butterfly. The series is called “Bufly” since that’s how my son, Arthur, mispronounced “butterfly” when he was younger. I’d put the paintings aside while I finished my work for the Venice Biennale. Now I’m locked in the studio, painting like a nut!

Karin Dreijer, a.k.a. Fever Ray, 49, singer-songwriter

I’ve been thinking about learning to play the drums. They’ve always felt like a bit of a mystery to me.

Eric N. Mack, 36, visual artist

I’m starting to recharge in order to begin my next body of work. I journal, read, explore the Criterion Channel and get deep-tissue massages. I keep wishing I’d organize the fabrics in my studio.

Jenni Kayne, 41, fashion designer

We’re starting the next iteration of the Jenni Kayne Ranch [the brand’s former property in Santa Ynez, Calif., where she’d invite guests for yoga, dining and spa experiences], only this time we’re heading to upstate New York. We’re calling it the Jenni Kayne Farmhouse, and it’ll include a self-care sanctuary where slow living is a genuine ritual.

Christine Sun Kim, 43, multidisciplinary artist

I have a bit of an adverse reaction to people doing American Sign Language interpretations of popular songs on social media — they’re usually based entirely on the lyrics in English, when rhyming works differently in ASL. So I’ve been wanting to make a fully native ASL “music” video. One day.

Ellia Park, 40, restaurateur

I’ve started collaborating with the in-house designer at Atomix, one of the restaurants I run with my husband, Junghyun Park, on custom welcome cards for the guests that feature bespoke artwork.

Awol Erizku, 35, visual artist

Awol Erizku’s “Pharrell, SSENSE” (2021), from "Awol Erizku: Mystic Parallax" (Aperture, 2023), courtesy of the artist

I’m focused on my exhibition “Mystic Parallax,” opening in May in Bentonville, Ark. [which will include concerts and portraits of such people as Solange and Pharrell Williams]. What I never seem to get around to is archiving all of my negatives in the studio.

Jeremiah Brent, 39, interior designer

As I navigate the [effect of the] ever-so-saturated interior design algorithm, I’m challenging our team to expand the language we speak, diversifying design references by looking to the unexpected: playwrights, films, historians and science.

Vincent Van Duysen, 61, architect

I’m focusing on the 90th anniversary of [the Italian furniture company] Molteni & C. I’m also excited about our recent addition to the family — a black-and-tan dachshund called Vesta after the virgin goddess of the hearth and home.

Kwame Onwuachi, 34, chef

I’m working on launching a sparkling-water line — the proceeds of which will help bring clean water wells to African countries — and starting to write my third cookbook. I start everything I think of.

Larissa FastHorse, 52, playwright and choreographer

I’m adapting a beloved American musical — I can’t say which — into a TV series. Which is scary because, even though I just adapted “Peter Pan” for the stage, the TV process is the opposite: Instead of cutting down a three-hour musical, I have to add hours and hours of content. So it feels like beginning over and over again.

Peter Halley, 70, visual artist

I’ve started to paint watercolors. Now that I’ve reached 70, I thought it was about time. The images are arranged in a grid like on a comic book page, but the narrative’s asynchronous. They’re based on images of one of my cells exploding, an obsession I’ve had going all the way back to the ’80s.

Darren Bader, 46, conceptual artist

I want to start an art gallery called Post-Artist that regularly shows art but refuses to name who made it. No social media presence. I also want to do what Harmony Korine is doing, except with none of that content.

Jeff Tweedy, 56, musician, Wilco

I’m about to record an album of new music with my solo band, which isn’t really solo at all. I’m bringing my sons and the close friends and quasi family who’ve been playing with me live for the past 10 years or so into the studio. I’ve written songs that feel like they can be a vessel for all of our voices together: a miniature choir. There’s really no experience that compares to singing with other people. I think it tells us something about how to be in the world.

Charles Yu, 48, writer

I’m about to start promoting the “Interior Chinatown” series [based on Yu’s 2020 novel]. I’d like to get into music and service. My son’s a drummer, and he’s awakened some latent impulse in me. And my daughter and wife have been volunteering. I’m not exactly sure what’s been keeping me from either. I could say work, but I suspect the actual answer is nothing.

Elyanna, 22, singer-songwriter

I’d love to improve my Spanish. I visit my family in Chile at least once a year and, every time I fly back to L.A., I realize that I need to keep practicing.

Boots Riley, 53, filmmaker and musician

I’m getting ready to start filming a feature I wrote about a group of professional female shoplifters who find a device called a situational accelerator that heightens the conflict of anything they shoot it at. I also have a sci-fi adventure: a janky, lo-fi epic space funk opera. My dream is to use the same crew and shoot the two movies back to back in Oakland, Calif. [where I live]. That’s one thing about being 53 — I want to be able to spend more time with my kids.

Damien Maloney/The New York Times

Sable Elyse Smith, 37, visual artist

I’ve recently embarked on an operatic project. Yikes! MoMA invited me to make a sound piece that’ll open in July, and it’ll be a kind of prelude to a larger version. It’s titled “If You Unfolded Us.” It’s a queer love story and a coming-of-age story about two Black women.

Satoshi Kondo, 39, fashion designer, Issey Miyake

My latest experiment with washi , or traditional Japanese paper, is blending fibers extracted from the remaining fabrics of past clothing collections with the pulp mixture from which washi is made. It’s a way of playing with color and texture.

Laila Gohar, 35, chef and artist

Almost all of my work has used food as a medium and has therefore been ephemeral. Making work that isn’t — namely, sculptures — is an idea I’ve been toying with for a while, but I haven’t been able to jump into it yet. I once read something an artist said about how she thought male artists are more concerned with legacy than female artists, and that female artists are more comfortable creating ephemeral work. This rang true for me, but now I feel slightly more confident about making things that might outlive me.

Patricia Urquiola, 62, architect and designer

I was nominated [last year] as a member of the Royal Academy of Fine Arts of San Fernando in Madrid, so now I’m writing the acceptance thesis, or discurso de ingreso . It’s an occasion to reflect on ideas — for example, I reread the philosopher Bruno Latour, who argues that design “is never a process that begins from scratch: To design is always to redesign.”

Luke Meier, 48, and Lucie Meier, 42, fashion designers, Jil Sander

We’ve started making some objects — glass and ceramics. We aren’t at all experienced in these fields, so it’s invigorating to play again.

Kevin Baker/Courtesy of Number 9 Films.

Marianne Elliott, 57, director

I’ve always wanted to do a film, but it requires so much time and theater is a hungry beast, so it’s eluded me until now: “The Salt Path,” starring Gillian Anderson, is based on a true story about a remarkable English couple [who embark on a 630-mile hike].

Samuel D. Hunter, 42, playwright

Last year, I was approached by Joe Mantello and Laurie Metcalf, who wanted someone to write a play for Joe to direct and Laurie to star in. I’d never met either of them but, if I had to pick one actor on earth to write a role for, it would be Laurie. “Little Bear Ridge Road,” a dark comedy about an estranged aunt and nephew who are forcibly reunited after the passing of a troubled family member, will go into rehearsals in May.

Thebe Magugu, 30, fashion designer

When I was 16, I began writing a novel, taking place between the small South African towns of Kimberley and Kuruman, that I’ve contributed to every year since. It currently sits as a huge slab of a book — around 80,000 words — and I’ve been meaning to rewrite and polish the earlier chapters. I’ve given myself the next 10 years [to finish the project]. It’ll be a gift I give to myself when I turn 40.

Misha Kahn, 34, designer and sculptor

I have an idea for this toothpaste project called Zaaams that’s expanded, of its own volition, into an entire cinematic universe. Sometimes an idea can grow so big that it’s unmanageable and nearly unstartable. Sometimes I’ll really start working on it, but I get overwhelmed by the seismic rift in society it would cause and feel dizzy. Crest, if you’re reading this, call me.

Nell Irvin Painter, 81, visual artist and writer

I’m way too old to be a beginner. I’m 81 and have already written and published a million (OK, 10) books. But a very different kind of project’s been tugging at me: something like an autobiographical Photoshop document with layers from different phases of my life in the 1960s and ’70s — spent in France, Ghana, the American South. I’d have to be myself at different ages.

Courtesy of Nell Irvin Painter

Sharon Van Etten, 43, singer-songwriter

In 2020, I became familiar with the work of Susan Burton, the founder of A New Way of Life, which provides formerly incarcerated women with the care and community they need to get their lives back on track, and was so moved by her story I asked my record label if it was OK to use money from my music video budget to produce a minidocumentary on the organization, “Home to Me.” I still have a lot to learn about filmmaking, but I think it’s the beginning of something beautiful.

Piet Oudolf, 79, garden designer

I’m starting the planting design for Calder Gardens, a new center dedicated to the work of the artist Alexander Calder in Philadelphia. I’m working on it with Herzog & de Meuron architects, and it’ll include a four-season garden that will evolve with the months. Early in the year, it’s about ephemerals (bulbs). Spring is when woodland flowers are important. Summer will be the high point of the prairie-inspired areas, and in fall and winter there’ll be seed heads and skeletons. I think a good, harmonious garden is like a piece of living art.

Rafael de Cárdenas, 49, designer

As a consummate shopper, I’ve always thought the best way to bring my interests together would be with a store — a lab for testing things out and creating a connoisseurship in the process. I’m thinking Over Our Heads (the second iteration of Edna’s Edibles in [the 1979-88 sitcom] “The Facts of Life”) meets Think Big! (a now-closed shop in SoHo) meets [the London gallery] Anthony d’Offay meets [the defunct clothing store] Charivari meets [the old nightclub] Palladium.

Gaetano Pesce, 84, architect and designer

I’m working on a possible collaboration with a jewelry company from Italy. I can’t say the name yet, but the pieces stand to be very innovative. Also, another collaboration with the perfume company Amouage inspired by time I spent in Oman’s Wadi Dawkah and the beautiful frankincense trees there.

John Cale, 82, musician and composer

Ever since I played viola in the National Youth Orchestra of Wales, I’ve been hypnotized by the thought of the discipline needed to conduct. My attention soon wandered — from John Cage to rock music. Now, 60 years on, it’s finally time.

Nona Hendryx, 79, interdisciplinary artist and musician

I’m working on the Dream Machine Experience, a magical 3-D environment that’ll be filled with music, sound, images and gamelike features. It’ll premiere at Lincoln Center this June. [My idea was] to create an imaginative world inspired by Afro-Futurism that encourages a wide, multigenerational audience to share.

Faye Toogood, 47, designer and visual artist

I’d like to develop a jewelry collection, but I haven’t. Is it because no one’s asked — no phone call from Tiffany! — or because I’m struggling to understand how adornment fits into our current world?

Freddie Ross Jr., a.k.a. Big Freedia, 46, musician

I’m recording a kids’ album and publishing a picture book for early readers. Much of my art is about language and the unique colloquialisms that we have in bounce culture. Children respond to its snappy rhymes and phrases.

Danzy Senna, 53, writer

Every time I write a novel, I think, “This is the most masochistic experience I’ve ever had — I’m going to quit this racket.” But I feel incomplete without this depressive object to feel beholden to. I just finished editing one book [“Colored Television”] and have the sinking feeling I’m about to start another.

Jackie Sibblies Drury, 42, playwright

I’m starting, hopefully in earnest, to write a play in collaboration with the director Sarah Benson inspired by action movies. We were intrigued by the problem of trying to put chase scenes or action sequences onstage, where it’s difficult to build momentum or suspense because in theater we have less control over the viewer’s eye, among other things. But hopefully the play will be about what it means to see ourselves in these macho cis men who often get hurt pretending to almost die for our entertainment — or something like that?

Lindsey Adelman, 55, designer

I’m putting together a digital archive of my work and ephemera — about 30 years’ worth — revisiting everything from the sculpture I made as a student at RISD to the paper lights David Weeks and I sold for $25 to datebooks where I scribbled notes about things I wished would come true and then did. I hope it’ll encourage others to start something. I want them to understand, “Oh, this was the first step … this beautiful, finished thing was inspired by a piece of garbage dangling from a streetlamp.”

Elizabeth Diller, 69, architect, Diller Scofidio + Renfro

David Wall/Getty Images

Since 2012, when my studio was doing research for a contemporary staging of Benjamin Britten’s chamber opera of Henry James’s “The Turn of the Screw,” I’ve been meaning to start a book about ghosts. While ghosts are a well-trod literary device, their visual representation on stage and screen also has a rich history that can be told through the lens of an architect. Despite the fact that ghosts transcend the laws of physics, they’re stubbornly site-specific — they live in walls, closets, attics and other marginal domestic settings, and they rarely stray from home.

David Oyelowo, 48, actor

Something that three friends and I are in the process of building and developing is a streaming platform that we launched last year called Mansa. The idea — born out of growing frustration with making things that I love and then having to use some kind of distribution mechanism where the decision makers are almost always people who don’t share my demographic — is Black culture for a global audience. Essentially, we started a tech company that intersects with our love of story and our need to create [pipelines] for people of color and beyond to be seen.

Franklin Sirmans, 55, museum director, Pérez Art Museum Miami

There’s a recurring exhibition that I’ve worked on with [the curator] Trevor Schoonmaker since 2006 called “The Beautiful Game” that consists of art about soccer. We do it every four years because of the World Cup, and I’m starting to get into the 2026 iteration. I’ve also been trying to finish a book of poems since I graduated college more than 30 years ago. But it’s happening. It’s not like you don’t write a good sentence every now and then.

Jamie Nares, 70, multidisciplinary artist

I’ve always loved this line of poetry [from the Irish poet John Anster’s loose translation of Goethe’s “Faust”] that goes, “Whatever you can do, or dream you can, begin it. Boldness has genius, power and magic in it.” One thing I’ve begun recently is a revisiting of my 1977 performance “Desirium Probe,” for which I hooked myself up to a TV that the audience couldn’t see, and relayed what was happening onscreen through re-enactment. Now I’m going to do it with YouTube videos chosen at random from the wealth of rubbish and interesting stuff on there. And as a video, because I’m not as agile as I once was.

Joseph Dirand, 50, architect and designer

My firm has just started developing, with a French company called Zephalto, a prototype of the interiors for a hot-air balloon that will take travelers to the stratosphere, and the carbon footprint of the journey will be equivalent to that of the production of a pair of blue jeans. The balloon is transparent, so it’ll be almost as if you’re going up in a bubble of air — riders will see the curve of the earth. We’re designing three private cabins: sexy, organic cocoons that reference the ’60s and the dream of space, but are otherwise pretty minimal. The landscape is the star of the show.

Amaarae, 29, singer-songwriter

I’m working on the deluxe version of my 2023 album, “Fountain Baby.” The approach for the original album was very maximalist — I organized these camps all over the world and had a bunch of people come through to work on the music. Afterward, I felt underwhelmed — not by the project but by how I felt at the end of it all. [So] I stripped back everything so it’s just me and my home setup, trying ideas. Before, I was really lofty, but now my feet are touching grass a little bit.

Jennifer Egan, 61, writer

I’m starting a novel set in late 19th-century New York City. As always with my fiction, I have little idea of what will happen, which lends an element of peril to every project! Time and place are my portal into story, and I’m interested in a time when urban America was crowded and full of buildings we occupy today, yet the landscape beyond seemed almost infinite.

Carla Sozzani, 76, gallerist and retailer

Just as my partner, Kris Ruhs, and I revamped the then-unknown Corso Como area of Milan, we’re now putting our energy into the construction of a new studio for him, as well as the expansion of the Fondazione Sozzani [cultural center], both of which are in Bovisa, another old industrial neighborhood. I wanted to be an architect when I was young, but my father said, “No!”

Stephanie Goto, 47, architect

If my clients allow me to peel one eye away from their commissions, I’d like to dive deeper into the renovation of my own property in Connecticut, which includes the circa 1770 former home of Marilyn Monroe and a tobacco-and-milk barn that will house my studio.

Amalia Ulman, 35, visual artist and filmmaker

I’m beginning to write the script for my third feature film — probably my favorite part of the process, when I just need to close my eyes and see the film in my head. It’s the closest to a holiday because it feels like daydreaming.

Wim Wenders, 78, filmmaker

Several years ago, I started a project about the Swiss architect Peter Zumthor, who, along with others, designed the new Los Angeles County Museum of Art that’s being built now. The working title of the film is “The Secret of Places,” and it’s done in 3-D. My dream is to make a comedy one day. [ Laughs .] Seriously. [ Laughs again .] I’m working on it.

Wendy Red Star’s “Beaver That Stretches” (2023), © Wendy Red Star, courtesy of the artist and Sargents Daughters

Wendy Red Star, 43, visual artist

I’ve started highlighting Crow and Plateau women’s art history by making painted studies of parfleches, these 19th-century rawhide suitcases embellished with geometric designs. I’m learning so much about these women just by their mark making, but have only come across a few that have the name of the person who made it, so I’m titling my works by pulling women’s and girls’ names from the census records for the Crow tribe between 1885 and 1940.

Nick Ozemba, 32, and Felicia Hung, 33, designers, In Common With

Next month, we’re opening Quarters, a concept store and gathering space in TriBeCa that will feature our first furniture collection.

Bobbi Jene Smith, 40, dancer, choreographer and actress

My husband, Or Schraiber, and I are creating a work composed of solos for each dancer of L.A. Dance Project, where we’ve been residents for the past year and a half. We’ve had the unique opportunity to connect deeply with some of the dancers, and this — a gratitude poem for each of them — will be our culminating project. They’ll each be a few minutes long and characterized by physicality set against silence.

Editor’s note: The architect and designer Gaetano Pesce, whose comments are included in this piece, died on April 4 at age 84.

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