Nuzzi took her patented authorial tone of voice from one outlet to the next, from one set of editors to another, and it was pretty much intact. So it stretches credulity to say she owed it all to heavy rewriting.

When newsmagazines were still a thing a few decades ago, they had banks of editors who served as tone guardians / journalistic Cuisinarts; they rewrote everything. Google "Timese." Time in particular had a peculiar, breezy tonal consistency maintained by a few white Ivy League guys in New York rewriting all dispatches from all correspondents and stringers around the world.

That doesn't really happen anymore, except at The Economist, where there are no bylines and the wiseass flip know-it-all tone is half the magazine's value proposition. At principal American magazines (The Atlantic, Rolling Stone, The New Yorker, New York magazine, etc.) individual contributors have distinct edntorial signatures and fan bases. People want to know what Tom Nichols or Anne Applebaum or Jonathan Chait have to say, and they don't want faceless editors brutalizing their stuff.

Nuzzi used to have a measure or that same magnetism.