Sarah Malik, a Walkley Award-winning Australian investigative journalist and author, has spent 17 years navigating the ever-shifting sands of the media landscape—a testament to her resilience and dedication in an industry known for its volatility. “I feel like a veteran who’s truly seen it all,” she laughs, speaking from Singapore during the 2024 Writers Festival. Her journey began during a turbulent time, in the aftermath of 9/11, with a part-time broadcast journalism role. This early experience profoundly shaped her understanding of journalism’s power to shape societal narratives.
Malik recalls the early pressure: “I worked on a TV show that featured segments about Muslims almost weekly. Even in a progressive organization, there was a tendency to sensationalize the Muslim community for better ratings. Witnessing my identity weaponized, and potentially participating in it, was incredibly stressful.” This personal experience, coupled with her identity as a Muslim, Pakistani-Australian woman from a working-class background, ignited a political fire within her. “People who looked like me were suddenly under suspicion, surveilled. Public conversations fixated on Muslim allegiances and trustworthiness. I felt compelled to be part of an industry where I could participate in the conversation, not just be a subject of it.”
Rising through the ranks, Malik honed her skills as a versatile reporter, ultimately choosing to pursue stories deeply meaningful to her. Her work focusing on immigration, race, gender, and belonging has earned significant recognition, bringing a much-needed diversity of voice to a largely homogenous industry. Beyond her journalism, she’s also the author of two impactful books: the critically acclaimed memoir, *Desi Girl: On Feminism, Race, Faith and Belonging*, and *Safar: Muslim Women’s Stories of Travel and Transformation*, which explores the journeys of Muslim women globally.
One of her career highlights came early, at 26, with a prestigious cadetship at the Australian Associated Press. “Only four people nationwide are selected,” she explains. “I rotated through different roles, working as a court reporter in Adelaide and then spending a year in Melbourne, traveling for work, attending press conferences, breaking news—it was a dream job.” However, the media industry’s inherent instability eventually caught up. A redundancy on the cusp of turning 30 led her to freelance journalism, a pivotal moment that allowed her to pursue the stories she felt passionately about, especially during the Trump era and the rise of the Black Lives Matter movement. This freedom enabled her to focus on asylum and detention in Australia and produce long-form documentaries on race, often tackling issues neglected by mainstream media.
Malik strongly believes in the power of journalism and storytelling: “The narratives we create shape our human interactions. Bigoted stories have a profound impact, but so do stories that foster understanding and self-worth. However, the journalism industry itself often perpetuates the inequalities it aims to correct.” She points out the systemic inequalities within the industry: “In the Western world, the industry is predominantly white, middle-class, and monocultural. This leads to groupthink and the replication of limited perspectives. For journalists of color, this creates a unique set of challenges. How do you make a difference when you’re a junior journalist in such an environment?”
Her own experience was a balancing act: “Early on, I focused on being a good journalist, avoiding identity-based pigeonholing. Yet, I felt a strong need to address social justice issues. I witnessed others being reduced to ‘spokespeople’ for their communities, their expertise minimized. There’s an old-school belief that good journalists should be identity-agnostic, but that’s a trap for minority journalists. We face double standards, often unseen for white journalists. Having a non-white identity can automatically be perceived as bias.”
Malik has encountered other significant challenges, including having her work stolen and bylines removed. She candidly discusses these experiences, highlighting the systemic issues women of color face, even within progressive organizations. These struggles are detailed in her memoir, *Desi Girl*, in a chapter aptly titled ‘Media World’.
Her advice for aspiring journalists is multifaceted: “Prioritize self-care and financial stability. Women often hesitate to assert their needs, especially regarding money. This industry is valuable, but remember that longevity requires assertiveness and protecting your work.”
Reflecting on her 17 years, Malik underscores the driving force behind her continued passion: “It’s an internal impetus, a commitment to freedom of expression and telling vital stories. Owning a story’s direction is crucial, something often lost within organizational constraints. We’ve seen this with Gaza coverage and corporate media limitations. I’m excited about exploring new storytelling formats, perhaps launching my own production company to create shows or podcasts on immigration, gender, race, and belonging—in more personal and creative ways. Even small contributions can chip away at the structures of power. Stories are everything; they build a better society.”
