A good writer can recognize a glint of a story in almost any situation. When this freelance writer discovered an unusual character in passing, he pursued the nugget to a full-fledged narrative pitch. Here, the writer and editor chronicle how a casual convo between friends led to a 2,000-word feature in American Way‘s July 15, 2009, issue — not to mention an ASJA award and repeat gigs with the pub.
What the Writer Did
Steven Beschloss: I’m always looking for unexpected profile subjects — especially stories with strong twists and turns where people changed their lives to follow their passion. So when a friend mentioned in passing that a Sonoma County resort has a croquet pro, I stopped her and asked lots of questions. I learned that Jerry Stark is a former autoworker who quit the GM assembly line to play the unlikely game of croquet, that he’s one of the best in the world and a hall of famer on a pro circuit that I never even knew existed. Once I discovered that — and saw a picture of him clad in whites with a long red beard — I knew I had a story.
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Then it was a matter of finding a magazine that would “get” the story. I was looking for a magazine for travel stories and profiles, so I was looking at a lot of in-flight magazines. I knew American Way ran longer profiles, so I picked that one. I send all my pitches through email, especially to editors I don’t know. Actually, mediabistro.com’s How To Pitch column on American Way helped me with a lot of details. I knew [Chris] was the one to contact since he was the one the article interviewed.
I pitched to him on July 29th, and I didn’t hear back for 10 days. (I usually wait about a week to ten days after I pitch to a publication to hear back.) So I re-sent it just to make sure they got it on August 6th. I assumed it wouldn’t be happening, since I didn’t hear back for two and a half months. But then, Chris emailed me back saying, ‘We’d like you to do this.’
By that time I had already started looking for other magazines. I never doubted that this story was a bad story; it just needed to find the right home. I pitched to Reader’s Digest and a couple more in-flight magazines. Not much changed in the form of the pitches — it felt like the pitch itself was Jerry’s story, and it didn’t need to be changed. I only pitched to magazines that I felt would take it the way I had written it.
Our agreement was a 2,000 word piece and most of the piece was a focus on Jerry’s narrative on his story. As we started, Chris wanted a little bit more of Jerry (the profile subject)’s voice through quotes. He also wanted the lead of the story to be more effective. Otherwise, not much was changed. The pitch was pretty clear from the beginning what the story would be about and with Chris, he was very good with describing what he wanted. Most editors aren’t as clear about what they want, but Chris was great with telling me how he envisioned it. American Way has gone on to ask me about other articles. The result of this first-time pitch ended up winning a writing award from ASJA, the American Society of Journalists and Authors. A happy ending.
The Pitch
| From: Steven Beschloss To: Chris WesslingFor your consideration:Playing Croquet, Seriously: When Jerry Stark lost his auto assembly plant job in Kansas City (1), he donned his whites and joined the professional croquet circuit. His friends thought he was crazy, and not just because there wasn’t money in it. Come on! Isn’t croquet a game kids play in lumpy backyards with chipped balls and bent wire wickets? (2) Today, Stark is having the last laugh (3) — and the time of this life. As the resident pro at Meadowood Resort in Napa Valley for nearly two decades (which also produces wine), this croquet world champion and national hall of famer teaches guests the art, ethics and sheer force needed to play and enjoy croquet. A big man with an orange handlebar mustache (4), Stark joins them in his finest whites on a pristine, full-sized lawn (35 X 28 yards), one of the nation’s best venues. I propose joining Stark there (5) to tell the improbable and amusing story of one man’s unlikely journey and share with readers some surprising facts about a game that they thought they knew. (6) By way of background (7), for the last three years I worked as Managing Executive Editor and occasional writer at The Ritz-Carlton magazine (links to two of my cover features from Moscow and London are below) and served as the founding editor of 6 magazine, a new luxury lifestyle magazine launching this fall. I have contributed to dozens of publications, including The New York Times, The New Republic, The San Francisco Chronicle, TV Guide and The Village Voice. I hope this idea intrigues. I’d be glad to send you others.(8) Best Regards, MOSCOW feature: (9) LONDON feature: |
Why the Editor Bit
Chris Wessling, senior editor, American Way: Steven’s pitch was our initial introduction. The fact that Steven had written for a number of major publications was a plus, as it helped establish his credentials. But beyond that, I liked how he crafted his pitch as much as the angle of the story itself. I don’t have set-in-stone requirements for new writers — a lengthy list of clips from well-known publications is a help, but it’s not a must-have. A great pitch is really what catches my eye and holds my interest.
Key Components of the PitchSteven’s pitch was spot-on in a number of respects. It was brief and clear. If a writer can’t clearly explain what he/she wants to write about in a graf or two (and make it compelling), then I start to wonder if the writer really has a strong vision on how a 1,000- or 2,000-word story will come together. It was already written like the lede of an actual story, so it was easy to see that Steven understood the writing style we prefer at American Way. It had the “who knew?” factor — who knew there were pro croquet players. It had the “take this job and shove it” factor — a fantasy that millions of people have every day. It had the “fish out of water” factor — auto factory employee transforms himself from a blue-collar worker to a whites-wearing croquet player. It had the “perseverance and dreams do come true” factor — Jerry Stark pursued his unlikely dream despite the doubters, eventually becoming a hall of famer.
(1) This attention-grabbing lead draws you in, and immediately relates to the reader. Said Wessling, “It had the ‘take this job and shove it factor — a fantasy that millions of people have every day.” Back to pitch
(2) This “who knew?” element adds intrigue to the story idea. Back to pitch
(3) Not only has the writer approached his pitch the same way he might approach the story (“It was easy to see that Steven understood the writing style we prefer,” said Wessing), he introduces a character transformation to the narrative. Back to pitch
(4) Incorporating telling details, like the subject’s orange handlebar mustache and pristine outfit, help the editor picture the scene. Even better, they prove the writer’s interest in the story idea, and they show the writer has done some research. Back to pitch
(5) The writer’s suggestion indicates he would have access to the subject and has thought about the reporting process. Back to pitch
(6) A direct reference to the takeaway for the magazine’s readers is another selling point for an editor evaluating whether a story pitch is a fit. But remember — it only works if it would genuinely resonate with the magazine’s audience. Back to pitch
(7) Always demonstrate why you’re the writer for the job — provide a short bio highlighting relevant experience. Back to pitch
(8) By signing off this way, the writer leaves room for discussion: Even if the editor should pass on this idea, the writer offers to suggest others in the future. Back to pitch
(9) Including links to clips, rather than attachments, is frequently the preference of editors. Try to limit your selection to the most relevant, recent stories. Back to pitch
