What Does an SEO Copywriter Do? Skills, Day-to-Day & How to Break In

If you’ve got the writing chops and SEO savvy, then SEO copywriter could be the job for you

Jenell Talley is a journalist and program analyst with a background spanning media, government, and editorial work. She holds a journalism degree from Howard University and a master's in human resources management from the University of Maryland.

3 min read • Originally published February 1, 2017 / Updated March 19, 2026

By Jenell Talley

3 min read • Originally published February 1, 2017 / Updated March 19, 2026

If you’ve got the writing chops and SEO savvy, then we’ve got the job for you: SEO copywriter. It may be the coolest job you’ve ever heard of. See what a few people in the field say about the position. Then, tell us we were right. We’ll be here, waiting.

What Exactly Does an SEO Copywriter Do?

An SEO copywriter writes copy that helps boost a website’s search engine rankings. The job is similar to that of an SEO specialist, but they aren’t the same. While an SEO specialist focuses on analyzing, reviewing, and executing changes to existing content to boost a site’s standing, an SEO copywriter typically creates original content to support the specialist’s strategy. An SEO copywriter must balance writing for search engines and writing for people, appealing to—and persuading—readers.

“The primary purpose of this role is to write copy that is search engine optimized through including keywords,” says James Nuttall, a copywriter who does SEO copywriting at Roman Blinds Direct. “This involves writing content across an entire website, from page descriptions to blog articles, helping to push your site up Google’s rankings.”

SEO copywriters craft Tweets, blog and Facebook posts, product descriptions, sales and promotional copy, and other content. Their specialty is considering keyword density and prominence as well as tone, style, and readability. Common tasks include:

Researching product attributes, competitive keywords, and content landscape.
Auditing websites to help develop off-site and on-site SEO campaigns.
Monitoring searcher and customer behaviors.

What Skills Do You Need?

You have to know how to write well. The word is copywriter, after all. “No matter how well your content may be optimized, if the words on the page aren’t worth reading, your target audience will not be interested—not to mention Google can tell the difference between good and bad copy,” says Nuttall.

“Knowing who your audience is and how they interact with your content is essential to creating copy that will convert, inform and be shared,” says Kevin Rossignol, senior SEO copywriter and editor at BudgetDumpster.com.” You also need a working knowledge of technical SEO, PR and analytics to consistently improve your copy, he adds.

And you should be able to take constructive criticism—any writer should, frankly. You can’t always get a hole in one, so don’t take it personally when someone doesn’t love what you wrote.

Who Is an SEO Copywriter’s Supervisor?

It depends on the company, but you could report to a web content supervisor, an SEO content manager, or someone in the marketing department.

What Does It Take to Excel at This Job?

“You must be a good writer, although that’s secondary,” says Eric Brantner, an SEO copywriter and managing editor at Scribblrs.com, a blogging and content marketing site. “It’s more understanding how to talk to people, then [putting] it on ‘paper,’” he says.

How Can Someone Break Into This Field?

No degree is typically required, except maybe at the agency level, says Brantner, who recommends getting started by putting together your own site or mock business sites to showcase your talent.

Topics:

Climb the Ladder, Skills & Expertise

Skills & Expertise

What Does a Journalist Do? Job Responsibilities, Skills, and Career Path

From breaking news to long-form investigations, here's what journalists actually do every day (and the skills you need to get hired).

By Jenell Talley

3 min read • Originally published January 11, 2017 / Updated March 19, 2026

By Jenell Talley

3 min read • Originally published January 11, 2017 / Updated March 19, 2026

So you’ve wanted to be a journalist since you were 12 and have a framed picture of Dan Rather on your nightstand to prove it. Cool. Hashtag career goals.

Kick off “Operation Become a Journalist” by getting the scoop on the job from a couple of seasoned pros. Then go break that story.

What exactly does a journalist do?

Journalists are storytellers. They write and report news stories about everything, from social issues and politics to sports and entertainment. A journalist presents information so folks can form opinions and make prudent decisions. “Journalists educate and inform the public about events and issues and how they affect their lives,” says Rebecca Briscoe, Houston Style Magazine national features reporter.

With newsrooms operating leaner and more digital than ever, journalists today juggle more roles than their predecessors. Beat reporters file for multiple platforms. Investigative journalists produce videos alongside their longform pieces. The job description has widened even as staffs have shrunk.

But getting to the story takes some legwork. A journalist spends time perusing press releases and developing story ideas; verifying facts; researching and investigating a single topic (sometimes for years!) for in-depth, long-form pieces; cultivating sources and relationships; and interviewing subjects.

And depending on where the journalist works, the job may entail anchoring a newscast, on-the-spot reporting, taking photos and producing content, including videos, for social media platforms.

What skills does a journalist need?

A mean pen game goes without saying. That includes having a voice that stands out. “The same way a verbal storyteller has a voice and a presentation style, so too should the journalist,” explains freelance writer Cari Shane, who’s written articles for various publications, including The Washington Post, Budget Travel and The Huffington Post. “The way words are written is key to the final product.”

Interviewing and interpersonal skills are important too. Extracting info from some subjects can be like pulling teeth, after all. You should also understand how media is consumed.

Does that mean I need digital skills?

You don’t have to be a digital deity, but experience with HTML and CMS, on-air content systems such as ENPS (Electronic News Production System), digital editing software and analytics is smiled upon.

“Hootsuite is a great way to manage social media platforms, Dropbox is the best method for me to share secure files, and Tweetbinder is my lifesaver when I want to quantify social media trends and engagement,” offers Briscoe.

Speaking of the digital space, are bloggers and people who report on celebrities journalists?

There’s no consensus on what makes someone a journalist, so the answer depends on whom you ask.

“They’re journalists if they approach their work as journalists [do]—that is, taking the job seriously, being a stickler for accuracy and writing well,” says Kent Klein, substitute host of the POTUS channel on SiriusXM.

“I consider myself a journalist because I have fact checked and researched my topic thoroughly,” says Briscoe, adding that most of her pieces offer serious, thought-provoking content.

Who’s my supervisor?

An editor, also known as the gatekeeper.

Do I need a journalism degree to break into the field?

“There’s nothing wrong with a journalism degree, but I would prefer a content-based discipline—economics, politics or foreign relations, for example,” says Klein. But experience is what really seals the deal. If you can get the story and translate it to paper, you’re as good as hired. Knock out a couple of internships while you’re still in school to get a head start.

Now, hop on over to the job board to find the perfect journalism job.

Topics:

Climb the Ladder, Skills & Expertise

Skills & Expertise

What Does a Creative Director Do? Skills, Salary & How to Break In

Job description, skills, salary, and how to break into this leadership role in design and advertising.

By Jenell Talley

8 min read • Originally published March 16, 2016 / Updated March 19, 2026

By Jenell Talley

8 min read • Originally published March 16, 2016 / Updated March 19, 2026

A creative director is a senior-level role responsible for setting the creative vision for a brand, campaign, or project—and leading a team to bring that vision to life. It’s one of the most sought-after positions in advertising, design, marketing, and media.

But what does the job actually involve? What skills do you need? And how do you break into creative direction? This guide covers everything you need to know about creative director jobs—from daily responsibilities to salary expectations and career paths.

What Does a Creative Director Do?

A creative director sets the creative vision for a brand or project and brings it to life through digital, print, film, and interactive design. The job is to maintain a cohesive look, feel, and message across a project—whether that’s an advertising campaign, fashion line, video game, publication, or brand identity.

Daily responsibilities typically include:

Defining and communicating the creative vision for projects
Leading and mentoring designers, copywriters, and other creatives
Reviewing and approving creative work (designs, copy, concepts)
Presenting ideas and pitches to clients or stakeholders
Managing budgets, timelines, and resources
Collaborating with account managers, strategists, and marketing teams
Ensuring brand consistency across all deliverables
Staying current with design trends, technology, and culture

While daily duties vary by industry and company, leading and inspiring others is always central to the role.

“Creative director is a bit of a misnomer; a more appropriate title would be ‘thought wrangler,'” says Mike Lichter, creative director at Cardwell Beach, a digital marketing agency in Brooklyn. “A creative director’s main role is to guide—to recognize, nurture, and protect people’s good ideas.”

Who Does a Creative Director Report To?

Reporting lines vary by organization:

At agencies: Chief Creative Officer (CCO) or Executive Creative Director
At magazines/publishers: Editorial Director or Editor-in-Chief
At brands (in-house): VP of Marketing, CMO, or Head of Brand
At startups: CEO or founder directly

“I report to the chief creative officers at my agency,” says Nick Ace, creative director at Collins, a brand consultancy in New York, “but the structure varies widely depending on the organization.”

Creative Director Skills: What You Need to Succeed

Beyond raw creativity, successful creative directors need a blend of hard and soft skills.

Hard Skills

Design proficiency — Deep expertise in graphic design, typography, and visual communication
Software knowledge — Adobe Creative Suite (Photoshop, Illustrator, InDesign), Figma, etc.
Art direction — Ability to guide visual style across photography, video, and illustration
Copywriting/content understanding — Even if you’re not writing, you need to evaluate and direct copy
Brand strategy — Understanding how creative work connects to business goals
Project management — Managing timelines, budgets, and multiple workstreams
Presentation skills — Pitching and selling creative ideas to clients and executives

Soft Skills

Leadership — Inspiring, mentoring, and getting the best work out of your team
Communication — Articulating creative vision to both creatives and non-creatives
Collaboration — Working effectively with strategists, account teams, and clients
Emotional intelligence — Navigating feedback, conflict, and team dynamics
Adaptability — Staying flexible as projects, priorities, and industries evolve
Humility — Being open to other ideas and knowing when to step back

“You need humility, perspective, openness, and resolve—and the wisdom to know which to employ and in what combination,” says Lichter. “You also need a good dose of doubt. Doubt can be crippling, but it can also be empowering because it causes you to question your assumptions and evolve your thinking. It helps temper ego, which can crush collaboration—the lifeblood of the creative process.”

Ace adds that cultural fluency is essential: “You need knowledge of art history, design history, pop culture, and counterculture. You have to keep up with art, technology, politics, and social issues. Everything can be relevant if you allow it to be.”

Creative Director Salary

Creative director is a senior-level role, and compensation reflects that. According to Glassdoor, the average base salary for a Creative Director in the United States is approximately $125,000–$135,000 per year, though this varies significantly based on industry, company size, and location.

Creative Director Salary by Experience

Level	Typical Salary Range
Junior Creative Director	$90,000 – $115,000
Creative Director	$115,000 – $150,000
Senior Creative Director	$140,000 – $180,000
Executive Creative Director	$170,000 – $250,000+
Chief Creative Officer (CCO)	$200,000 – $400,000+

Total compensation often includes bonuses, profit sharing, and equity (especially at agencies or startups). Location matters significantly—creative directors in New York, San Francisco, and Los Angeles typically earn 15–25% more than the national average.

Understanding the financial side of the role is crucial, especially when transitioning from a mid-level position like art director or senior designer. It’s not just about salary—it’s about understanding budget allocation, client billing, and team resource planning.

Similar Job Titles

If you’re searching for creative director jobs, you may encounter related titles with overlapping responsibilities:

Art Director — Focuses on visual design elements; often a step below Creative Director
Design Director — Oversees design disciplines (graphic, UI/UX, product); similar scope to CD
Executive Creative Director (ECD) — Senior to CD; oversees multiple teams or departments
Chief Creative Officer (CCO) — C-level; sets creative vision for entire organization
Head of Creative — Often interchangeable with CD; may have more managerial focus
Brand Director — Focuses on brand identity and guidelines; mix of creative and strategy
Content Director — Similar to CD but focused on editorial/written content
Creative Lead — Leads specific projects; usually below Creative Director
Visual Director — Common in fashion/retail; oversees visual presentation and merchandising
Creative Manager — More junior; often manages day-to-day creative operations

How to Become a Creative Director

There’s no single path to creative direction, but most creative directors share a common trajectory: they started as designers, copywriters, or art directors and worked their way up over 8–15+ years.

Typical Career Path

Junior Designer / Junior Copywriter — Learn the fundamentals, build your craft
Mid-Level Designer / Copywriter — Take on more complex projects, develop a specialty
Senior Designer / Senior Copywriter — Lead projects, mentor juniors
Art Director / Associate Creative Director — Direct visual or conceptual work, manage small teams
Creative Director — Set vision, lead teams, own client relationships
Executive Creative Director / CCO — Oversee multiple teams or the entire creative organization

Tips for Breaking In

“A fine arts degree, such as a BFA or MFA, is helpful, but it may take more than that to break into creative direction,” says Lichter. “It’s like anything else these days—you need to know someone, or better yet, someone needs to know you.”

Ace advises aspiring creative directors to “identify the companies you want to learn from and apply there. Then try your hand at a little bit of everything, figure out what moves you, and work your way up the ranks.”

Build a strong portfolio — Showcase your best work and demonstrate range
Develop leadership experience — Lead projects, mentor others, take initiative
Network intentionally — Build relationships in the industry; many CD roles are filled through referrals
Stay culturally curious — Keep up with design, art, technology, and culture
Learn the business side — Understand budgets, timelines, and client dynamics

Career Progression for Creative Directors

If you’re eyeing a long-term career in creative direction, continuous learning and adaptability are essential. The creative landscape evolves constantly—driven by technology, platforms, and shifts in consumer behavior.

Career progression may include:

Executive Creative Director — Overseeing multiple creative directors or departments
Chief Creative Officer (CCO) — Setting creative vision at the organizational level
Lateral moves — Into brand strategy, marketing leadership, or product roles
Entrepreneurship — Starting your own agency or consultancy
Advisory/consulting — Working with multiple brands as a fractional or contract CD
Teaching — Sharing expertise at design schools or through workshops

It’s a multifaceted career path with many avenues for growth—provided you’re willing to keep expanding your skill set and stay open to new challenges.

Find Creative Director jobs on Mediabistro. Hiring a creative director? Post your job on Mediabistro.

FAQs About Creative Director Jobs

Q: What does a creative director do?

A: A creative director sets the creative vision for a brand, campaign, or project and leads a team to execute that vision across digital, print, video, and other media. They’re responsible for ensuring all creative work is cohesive, on-brand, and aligned with business goals—while also managing budgets, timelines, and client relationships.

Q: What skills do you need to be a creative director?

A: Essential skills include design expertise, art direction, brand strategy, and project management. Equally important are soft skills: leadership, communication, collaboration, and emotional intelligence. Cultural awareness—staying current with art, design, technology, and social trends—is also critical.

Q: How much do creative directors make?

A: The average creative director salary in the U.S. is approximately $125,000–$135,000 per year, with senior and executive roles earning $150,000–$250,000+. Compensation varies significantly by industry, location, and company size. Bonuses and profit sharing are common.

Q: What’s the difference between a creative director and an art director?

A: An art director typically focuses on visual design execution and often reports to a creative director. A creative director has broader responsibilities—setting overall creative vision, managing multiple disciplines (design, copy, video), leading teams, and owning client relationships. An art director is usually a stepping stone to a creative director.

Q: Do you need a degree to become a creative director?

A: A degree (BFA or MFA) in graphic design, advertising, or a related field is helpful but not strictly required. What matters most is your portfolio, experience, and leadership ability. Many creative directors rise through the ranks based on the quality of their work and their ability to lead teams.

Q: How long does it take to become a creative director?

A: Most creative directors have 8–15+ years of experience before reaching the role. The typical path involves progressing from designer or copywriter to senior creative roles, then to art director or associate creative director, before becoming a full creative director.

Q: What industries hire creative directors?

A: Creative directors work across many industries: advertising agencies, design studios, in-house brand teams, publishers, fashion, entertainment, gaming, tech companies, and startups. Any organization that produces creative work may employ a creative director.

Q: What’s the difference between a creative director and an executive creative director?

A: An executive creative director (ECD) is senior to a creative director and typically oversees multiple teams, departments, or major accounts. ECDs are more strategic and less hands-on with individual projects, focusing on overall creative quality and team leadership.

Q: What’s the career path for a creative director?

A: After creative director, progression typically leads to executive creative director, then chief creative officer (CCO). Some CDs transition into brand strategy, marketing leadership, entrepreneurship (starting their own agencies), or consulting/advisory roles.

Q: How important is networking for becoming a creative director?

A: Very important. Many creative director roles are filled through referrals and relationships. Building a strong network in the industry—through agencies, conferences, social media, and professional communities—can significantly accelerate your path to a CD role.

Last updated: March 2026

Topics:

Climb the Ladder, Skills & Expertise

Skills & Expertise

What Does a Marketing Manager Do? Key Skills, Responsibilities & Career Path

Here's the scoop on what it takes to be a kickass marketing manager

By Joyce Manalo

@jjoycemanalo

Joyce Manalo is a writer, photographer and digital strategist.

3 min read • Originally published January 25, 2016 / Updated March 19, 2026

By Joyce Manalo

@jjoycemanalo

Joyce Manalo is a writer, photographer and digital strategist.

3 min read • Originally published January 25, 2016 / Updated March 19, 2026

So you’ve been eyeing marketing manager positions and you’ve read through the job description at companies that appeal to you. But maybe you’re still not exactly sure what the role is really all about. Allow us to break it down for you.

What exactly does a marketing manager do?

Well, it depends on the size, structure and goals of the company, but the core responsibility is to implement and report on marketing initiatives. The role is focused on the what (as in, what actions need to be executed), as opposed to the role of a marketing director, who explores the why and the how of those actions, explains Simon Yi, growth marketing lead at digital concierge service Reserve.

For example, Natalie Bonacasa, senior marketing manager at travel platform Skift, is tasked with renewing and retaining existing subscribers through campaigns that involve newsletters, sponsored content, partnerships, ads and events. She also works closely with the creative and development teams to create engagement-worthy emails and ads displayed online, in print and via social media.

What skills do you need?

These days, it’s not enough to know the pros and cons of both print and digital channels. You need to be a numbers person, an excellent project manager and a team player. “Things are becoming more measured and focused on the return on investment, and I’m finding that marketing managers who have quantitative skills is very important,” notes Yi.

Bonacasa says she juggles the duties of a project manager by having checklists and timelines for each campaign. “I loop in whoever needs to be included so we’re all on the same page,” she adds. “Being likable is important, too,” she explains, especially when you need cooperation from team members across departments.

Who is a marketing manager’s boss?

Depending on the size of the company, your boss may be a marketing director, VP of marketing, chief marketing officer (CMO) or, at smaller businesses, the CEO or company founder.

As for direct reports, a marketing manager at a startup may have none, besides perhaps an intern or two. At a larger company, you will likely have marketing assistants or associates that report to you, or a team of content producers.

Are there other titles with similar responsibilities?

Yi’s title, growth marketing lead, is a digital marketing role that carries many of the same responsibilities as a marketing manager. In his case, Yi is a specialist who analyzes consumer activity on Reserve’s digital channels and uses those data points to plan marketing campaigns. Marketing managers can also be platform specific (e.g. email or social media marketers) or in charge of initiatives executed in certain cities, regions or countries.

What do you need to get ahead in this position?

Being on the pulse of new marketing platforms (mobile, video and beyond), advertising technology and Internet culture is a huge advantage. For Yi, success in his position means staying curious; for Bonacasa, it’s about keeping the team on task.

If you’re looking to up your marketing game, consider taking a class. Mediabistro’s online courses include a whole line up of marketing courses, from crash courses in content marketing and social media engagement, to more in-depth instruction on search marketing and marketing with Pinterest, Instagram and Tumblr.

Topics:

Climb the Ladder, Skills & Expertise

Business Basics

How to Make the Editing Process Go Smoothly as a Freelancer

Because there will always be edits, be ready to take them on

By Celeste Mitchell

Celeste Mitchell is an editorial writer and editor with nearly 30 years of experience creating consumer lifestyle content for publications including Marie Claire, Cosmopolitan, Good Housekeeping, and SELF. She previously served as Deputy Editor at Cosmopolitan and taught journalism courses through Mediabistro.

4 min read • Originally published November 21, 2003 / Updated March 19, 2026

By Celeste Mitchell

4 min read • Originally published November 21, 2003 / Updated March 19, 2026

It’s hard enough to land a freelance writing assignment, but, sometimes, a grueling editing process can be even worse. You want the process to go smoothly, but you also want to keep your work from getting walked all over. You want to stand up for language and structure that you labored over, but you also don’t want to jeopardize your relationship with the publication.

For guidance on how to make the editing process work best, we checked in with freelance editor and journo professor, Charlie Butler, who works with many of the magazine’s freelancers.

“Being a freelance writer is tough,” he says. “Of course you have to be a solid writer and reporter, but it’s also important to handle yourself in a way that makes the process collaborative.” So how do you make the process collaborative? Here are Charlie’s tips:

1. While you’re working on the article, it’s hugely important to keep your editor updated, whether by phone or email. This is particularly key if this is a new relationship; there’s a lot of anxiety—on both sides—the first time around. Most editors are in a position to offer a bit of wiggle room on a deadline as long as you give them one to two weeks’ warning. Whatever you do, don’t surprise them on the actual due date with a note saying the piece isn’t ready.

2. Follow the instructions laid out in the assignment letter. When an editor gives you specific details about what to include in the piece, make every attempt to get them. If during the reporting process you find that some of the information just doesn’t exist or you can’t track it down, contact your editor and brainstorm a solution. If you find yourself veering off track, let your editor know. If you’re having trouble getting the sources the magazine needs, see if he can help open a door and lead you down the right path. No editor wants to be surprised when the piece comes in.

3. Don’t hand in crummy copy. Know the level of writing a magazine regularly publishes, and meet it on your first attempt—or at least give it your best shot.

4. Don’t get cranky when an editor asks for additions to your original manuscript or a revision with a different spin. He knows you’re ready to move on to the next project, and he appreciates the time and effort you’ve devoted up to that point. He’s ready to move on as well, but until the article is up to snuff, you’re still the one responsible for fixes.

5. Don’t be late with a revise. By the time you’ve been through a second or third draft, there’s precious little time remaining in the production schedule for playing around. Make the changes and kick it right back.

6. Approach the process as a collaboration between you and your editor. It is not a competition, so drop your battle gear and never get defensive or emotional. Attempt to resolve all differences in a respectful manner. Remember, both of you share a common goal to produce an article of the highest quality. If you don’t like or don’t understand something your editor has done to your copy, raise the issue in a professional way.

7. During the revise phase, focus your attention on answering the specific questions your editor has asked. This is not the time to add new topics that you think might be better.

8. When your editor asks for more substance in an anecdote, or for greater depth in your reporting, don’t balk. These are reasonable requests. While it’s tempting for writers to think an editor is overreaching, it’s unlikely. Think of it this way: It’s your editor’s job to understand the idiosyncrasies of his magazine, as well as the unique preferences of its editor. Often, requests for additional reporting fall into those categories. So instead of saying, “I looked everywhere and can’t find it,” just roll up your sleeves and start digging.

9. Don’t hit your editor with a major fact-checking change in the final stages of production (i.e., close week). And even more importantly, don’t rely on the magazine’s fact checker to catch sloppy reporting.

10. And speaking of closing week, don’t be that MIA writer so many editors find annoying. You’re the primary point person for this article and the person your editor turns to for answers to last-minute questions from his bosses or the fact checkers. The night your story is shipping is not the time for a spur-of-the-moment trip to a secluded cabin out of cell-phone range.

At least not if you want to work for that mag again.

Topics:

Business Basics, Go Freelance

Journalism Advice

Pitches That Worked: The Query Letter That Landed a Parents Magazine Assignment

We break down why a query landed its writer a Parents assignment

By Rebecca L. Fox

6 min read • Originally published September 11, 2006 / Updated March 19, 2026

By Rebecca L. Fox

6 min read • Originally published September 11, 2006 / Updated March 19, 2026

Welcome to Pitches That Worked, a new feature for AG members that takes an actual query letter that landed its writer an assignment, and breaks down just what made it successful. Consider it your guide to the nuts and bolts of assignment-worthy pitches, complete with comments from the author of the pitch and the editor who fielded it about what made it work.

In this first installment, we illustrate (with numbered, hyperlinked comments) how freelancer Betsy Noxon’s pitch to Parents magazine has the ingredients essential to a convincing query. Plus, she and Parents‘ articles editor, Mary Hickey, describe in their own words how Noxon’s pitch led to a published piece.

What the Writer Did

Betsy Noxon: “The idea for this pitch first generated with thoughts on pre-teens and envy. My nephew commented that some of his friends had all the cool electronics and games. This got me thinking about all the pressure kids feel about having material things so they can fit in at school. I spoke to some friends whose kids are this age, too, and recalled my experiences as a 9-12 year old.

“I called upon an expert in the area to verify that indeed, kids coping with being a part of the in crowd is a natural part of a child’s development.

“My original pitch focused on envy, but when Mary called to discuss, she felt my pitch was more about fitting in. Around this time, I was taking mediabistro’s online ‘Master The Pitch Letter’ class with James Sturz. I reworked the pitch, submitted it to my class for review, then revised and emailed it to Mary. I heard back from her later that day, [saying] she wanted to go ahead with the piece.”

The Pitch

March 17, 2005

Mary C. Hickey (1)
Articles Editor
Parents
375 Lexington Ave.
New York, NY 10017

Dear Mary: (2)

From the latest PlayStation game to the hottest jeans to the right haircut – kids gotta have it to fit in. If not, their worlds fall apart. (3)

For your “As They Grow” department for the 9-12 age group (4) I propose a 1,000- word piece (5) on why kids need to fit in with their friends and how parents can handle this need. (6) I’ll examine what parents can do to nurture individuality, while caring for their child’s self-esteem.

The article will give an example
(7) of a family that deals with the issues their child faces when trying to fit in and show how they are successfully working through it. The piece will give parents tips on how to handle their kids’ need to fit in and what to do when their child isn’t part of the “in” group. (8) I will also address how parents can negotiate with their kids on the things they want. Ben Shain, MD, PD, head of the Child and Adolescent Developmental Psychiatry department at Highland Park Hospital in Highland Park, Illinois notes (9), “During these years parents shouldn’t dismiss their child’s need to fit in, but empathize with their child.” A sidebar (10) will give a bulleted list on how kids can handle teasing and cliques, as suggested by child development experts.

I am a parent of two young sons and have a niece and nephew, both age nine, who are dealing with these issues now. (11) We met at the Writers & Editors Conference in Chicago last summer. (12) Since then, I’ve mailed some of my clips to you for your file. I’ve published parenting and health stories in North Shore magazine, Chicago Parent magazine and The Chicago Tribune, and have a piece on scholarships to be published in AARP The Magazine’s May/June issue. (13)

I look forward to hearing from you soon about my proposal.

Best,
Betsy Noxon

Why the Editor Bit

Mary Hickey: “The pitch was very clearly focused and showed that [Noxon] was completely familiar with the section of the magazine she was pitching this for. She knew the format of the column — i.e., that it always includes a sidebar. And, she also did a little research and talked to an expert to establish that this is, in fact, an issue that parents of kids in this age group are dealing with.

“So many pitches I get are for stories that we’ve done within the past year. I think a lot of writers make the mistake of not looking at back issues to make sure their idea isn’t something we’ve done fairly recently. I don’t expect them to go back over years of issues, but they certainly should look at the last ten or so issues.”

Key Components of the Pitch

(1) Correct address information for the outlet’s assigning editor, formatted properly for a business letter, is essential — including the properly spelled name and title of the person to whom the pitch is addressed. Back to pitch

(2) Noxon addresses her pitch directly to Hickey, avoiding the impersonal “To whom it may concern.” Back to pitch

(3) Noxon jumps right in without any distracting preamble. Her tone is clear and authoritative from the start, implying that she knows their subject. Back to pitch

(4) Noxon targets a particular section of the magazine, showing that she’s familiar with Parents. Back to pitch

(5) Stipulating a word count shows that Noxon has thought about how long her story should be to adequately cover her topic. Word count is consistent with the length of pieces that typically run in the section she’s writer is targeting; again, demonstrating her knowledge of Parents. Back to pitch

(6) Heightening its potential appeal to Hickey, Noxon proposes a story with a dual purpose: explaining children’s need to fit in, and arming parents with ways to deal with it. The idea has a service element to in line with Parents content’s goal of helping parents guide their children by providing useful insights. Back to pitch

(7) Now that she’s clearly laid out her story idea, Noxon shows how she’ll flesh it out, concisely describing an example she can provide, thus showing Hickey that she’s already done research to back up her story and can provide evidence to prove her piece’s thesis. Back to pitch

(8) By mentioning her intended article’s “tips” component in her pitch, Noxon again plays up the service aspect. Back to pitch

(9) Citing an expert source with a direct quote lends depth to Noxon’s pitch and proves that with her story idea, she’s onto a larger phenomenon. Back to pitch

(10) Suggesting a related sidebar is consistent with the format of the Parents section Noxon’s targeting, again lending depth to her proposal and proving she knows the magazine’s format. Back to pitch

(11) Referencing the children in her own life helps Noxon illustrate the issues within her proposed story on a personal level, lending yet another dimension to her pitch and further proving to Noxon the need for this proposed story. By explaining that her niece and nephew are “dealing with these issues now,” Noxon telegraphs an actual need for her piece without veering into melodrama. Back to pitch

(12) Referring to how she met Hickey, Noxon describes where and when it occurred — a sound strategy, since Hickey may not recall their encounter. Back to pitch

(13) Concluding with examples of where the she’s been published and which topics she’s covered always works, but it’s especially helpful when, as in Noxon’s case here, those topics correspond with the story being proposed. Noxon wraps up with concrete evidence (i.e. previously published pieces) that she can deliver. Back to pitch

Topics:

Go Freelance, Journalism Advice, Pitches That Worked

Journalism Advice

Pitches That Worked: How a First-Time Pitcher Landed in Time Out New York

This writer's pitch had one NY weekly thirsting for his article

By Rebecca L. Fox

5 min read • Originally published October 16, 2006 / Updated March 19, 2026

By Rebecca L. Fox

5 min read • Originally published October 16, 2006 / Updated March 19, 2026

Welcome to Pitches That Worked, a new feature for AG members that takes an actual query letter that landed its writer an assignment, and breaks down just what made it successful. In our third installment, we illustrate (with numbered, hyperlinked comments) how first-time article-pitcher St. John Frizell crafted a “perfectly pegged” pitch on beer gardens — in one of mb’s own travel writing classes with James Sturtz — that had Time Out New York thirsting for his story.

What the Writer Did

St. John Frizell: I was in James Sturz’s “Intro to Travel Writing” class at the time, and this pitch was a class assignment: Pitch a travel-style article to a local magazine or newspaper. For some time, I had been doing my own research on New York’s German restaurants, and I had just discovered Zum Schneider and Hallo Berlin. October was six weeks away, and an Oktoberfest roundup seemed like a no-brainer. Jean Tang, a fellow student, liked the pitch and told me I should send it to her friend Maile Carpenter, then food editor at Time Out New York. It seemed like a perfect fit for Time Out, where easily digestible food/entertainment roundups are king.

I made sure to include Jean’s name in the letter, and I wrote it as much in “Time Out–style” as possible. It was sent via email, but I don’t remember the subject line. I also said that I was a Bon Appétit staffer, which was true — though I was a copywriter at the time, not an editor. I was never asked to clarify. The editor bit on the pitch right away, because it was perfectly pegged — I sent the pitch in mid-August, just when they were finalizing their content for late September and early October. She emailed me back a couple of days later, with a few refinements to the pitch: a shorter article, two sidebars, and she only wanted to feature restaurants that were hosting some kind of Oktoberfest celebration — which prompted one of the venues to think up a celebration on the spot.

The Pitch

August 13, 2002

Dear Maile Carpenter,

Germans may not be known for their ability to have a good time, but they did invent the beer garden, which may be a perfect recreational concept — perfect, that is, if you prefer to enjoy your beer, bratwurst and polka in the great outdoors. And in the first days of autumn, when the air is crisp and the lager’s crisper, what New Yorker doesn’t? (1)

I propose a roundup of New York City’s beer gardens for Time Out New York, just in time for Oktoberfest (2). Our mutual associate Jean Tang (3) assured me that this article was right up your alley (4). I’ve catalogued local beer gardens using the following criteria: (5) The establishments must offer a) beer; b) a garden; and c) the critical element, without which a beer garden is just a patio bar: sausage.

I’ll tell TONY readers what Queens landmark cooks bratwurst the way God intended (6) — simmered in beer, then grilled — and what outer-borough patio bar serves Polish swojsk that goes “from the smokehouse to your belly in two days.” I’ll introduce them to some old Bohemiam beer slingers, and the sausage-mad chef (7)at a New York “yacht club with no dress code, no walls, no ceiling and no running water. Sidebars will define key beer garden terms (8), so TONY readers will be able to tell a knackwurst from a weisswurst and pronounce the Teutonic tongue-twisting names of beers, like Reissdorf Koelsch and Schlenkerla Rauch Bier.

As a Bon Appétit staffer and a green-thumbed beer gardener (9), I’m certain I could have a 2,000-word (plus sidebars) article to you before your October deadlines (10). Clips (or apreview of the article (11) — I have extensive notes) are available on request. I’ll call you on Thursday to discuss this further (12).

Prosit! (13)

Yours,
St. John Frizell

Key Components of the Pitch

(1) Posing his story idea as a rhetorical question, the writer marries several surefire elements to pique a New York-centered magazine’s interest: activities New Yorkers enjoy, a celebration of the season, and beer-drinking. By capturing the reader’s interest early on, the pitch is immediately off to a compelling start. Back to pitch

(2) Early in his pitch, the writer states a clear hook (i.e. reason) for his piece: Oktoberfest, the annual German festival celebrated worldwide, in which beer plays a central role. Back to pitch

(3) Referring to their shared contact as a “mutual associate” confers professionalism — more appropriate to business correspondence than “my friend.” Back to pitch

(4) The writer clearly states that he’s tailored his pitch to the publication, music to most editors’ ears. Back to pitch

(5) Listing his “criteria” proves that the writer’s not just using his own personal preference to evaluate the beer gardens, but that there’s some objective standard by which he’s judging them. Back to pitch

(6) Phrasing like “I’ll tell… readers” underscores the writer’s intimate knowledge of his subject, enabling him to dispense the kind of insider information that’s TONY‘s bread and butter. Back to pitch

(7) Referring to characters like a “sausage-mad chef” shows that the writer’s got sources he can go to for quotes, and proves he’ll be filling his article with colorful, engaging details — not to mention zany personalities. Back to pitch

(8) Proposing sidebars to accompany the main article underscores that the writer’s topic merits coverage, and that he’s knowledgeable enough about the subject to communicate information in an easily-digestible sidebar format. Back to pitch

(9) Combining a mention of his related credentials (i.e. working for Bon Appétit) with a witty description of his knowledge of beer — and the gardens where it’s consumed — is a great way for the writer to tout his relevant experience without seeming pretentious. Back to pitch

(10) Specifying the intended length and format of his proposed piece and mentioning the October timing gives the editor important details she needs to schedule an article. The writer’s knowlege of the editorial needs means it’s that much easier for the editor to go ahead and assign the piece. Back to pitch

(11) For newer writers (read: those with fewer clips) or those pitching an outlet for the first time, offering a piece on spec is a great way to show editors that you can produce the piece you’re promising. Back to pitch

(12) Indicating exactly when and how you plan to follow up gives an editor advance notice on when they can expect to hear from you — a good tactic, so you can follow up without seeming as if you’re badgering them. Back to pitch

(13) Don’t be afraid to end on a fun note: Here, the writer’s cute closing makes perfect sense, as “prosit” means “cheers” in German. Back to pitch

Topics:

Go Freelance, Journalism Advice, Pitches That Worked

Journalism Advice

Pitches That Worked: How a Contrarian Angle Won Over Salon’s Editors

Arguing against majority opinion landed this writer an assignment

By Rebecca L. Fox

7 min read • Originally published September 28, 2007 / Updated March 19, 2026

By Rebecca L. Fox

7 min read • Originally published September 28, 2007 / Updated March 19, 2026

In October 2003, writer Mat Honan cold-pitched Salon a query centering around a newly-passed piece of anti-spam legislation that, he argued in his pitch, would wind up worsening the spam situation rather than remedying it. Running counter to coverage hailing the legislation as a boon to email users, Honan’s well-researched, forcefully-argued query piqued the interest of Andrew Leonard, Salon’s then-technology editor (now a senior technology writer there). We got their recollections of the query, and break down the pitch to show how Honan’s unique angle led to an assignment.

What the Writer Did

Mat Honan: I had covered [the Burns-Wyden anti-spam bill, a.k.a. the “Can-Spam Act,”] for Tech Daily (National Journal) previously, and had strong feelings that it was going to be an ineffective piece of legislation. When it passed, I couldn’t believe a lot of the coverage I was seeing in newspapers that really gave the bill more credit than it deserved. I didn’t think the opposing viewpoint — that the act was going to be ineffective — was getting enough traction. Salon has a long history of covering both technology and politics, and they tend to run a lot of pieces where someone argues for a particular viewpoint. [The piece I was proposing] really seemed like a natural fit.

I was familiar with Salon, since I’d been reading it for years and had always loved it (and still do). But before I pitched I looked around to find out who edited the technology section. I more or less just looked at the “About ” page and found the technology editor (Andrew Leonard). I was familiar with his byline, of course, but prior to that I didn’t realize he edited the section.
This was my first pitch to Salon, and I pitched Andrew blindly. So, I felt I really needed to back up my pitch. I’d long meant to [pitch Salon], but never pulled the trigger. But like I said, I thought that the CAN-SPAM story was a really great fit for Salon. When I was inspired to pitch it, the first thing I thought was that it would make a great Salon story, and I’d be crazy not to take the chance to send it to them.

I [got] a response from Andrew — I don’t recall when, exactly, but it was pretty quick. He accepted the pitch, gave me a deadline, told me about payment, and that was it. As I recall, I filed within a few days of pitching. The piece ran a week later. Andrew turned out to be a great guy and we wound up working together again several times after [this]. I wrote several other stories, some that I pitched, and some that Andrew assigned me. I have not been doing as much for them lately as I once did, and this kind of reminds me I should really shoot him an idea or two again sometime soon.

Why the Editor Bit

Andrew Leonard: Spam is a topic of enduring reader interest, and Mat offered a contrarian take, which was that a highly touted law aimed at stopping spam would actually create more of it. As an editor, I always found contrarian pitches more attractive than conventional wisdom pitches. That may have been just a personal predilection (although it was also in line with Salon’s general attitude), but I think in general, when pitching a story, the best way to catch an editor’s attention is to have an angle that is different than what the reader or editor might expect.

Mat’s approach caught my attention because it had a clear argument, got right to the point, provided clips, and was written cleanly. The vast majority of pitches stunningly do not manage to fill all those categories. For a writer to understand the publication he or she is pitching to builds confidence in the editor. A list of potential sources never really meant that much to me. By reviewing [Mat’s] clips, I could tell he would do the legwork. That’s actually the easiest part. Far more important is writing style and a good argument.

The Pitch

Hi Andrew,

The Burns-Wyden anti-spam bill, or the so-called “Can-Spam Act,” passed overwhelmingly in the Senate last week (1) and was heralded on front pages across the country as an anti-spam victory. “Senate Votes 97-0 To Restrict E-Mail Ads,” the Washington Post announced. “Senate Votes to Crack Down on Some Spam,” proclaimed The New York Times. “Senate OKs do-not-spam plan,” bellowed the [San Jose] Mercury News in giant Hearst-sized type across the top of the page. (2) There’s just one problem: Burns-Wyden will make the scourge of spam worse and effectively legitimize the practice of sending unsolicited bulk email. (3)

By eliminating a consumer’s right to sue, over-riding state legislation, and providing for truthful-yet-unwanted email from so-called legitimate spammers, Burns-Wyden will create a flood of spam, all of it legal. What’s more, the “do-not-spam” list tacked onto the bill at the last moment is utterly unenforceable, and worse, could be used by spammers to harvest valid email addresses. (4) Can spam? More like spam can. (5)

I’d like to write a piece arguing Burns-Wyden is bad for consumers; is indeed worse than no law at all. (6) I’ll get quotes from people on the frontlines. (7) Attorneys who have won significant court cases against spammers (such as Pete “The Spammer Hammer” Wellborn and/or David Kramer), FTC representatives (who have called the “do-not-spam” list unenforceable), and email service providers. I’ll also contact representatives from California — where the nation’s first anti-spam legislation with real teeth was set to take effect on January 1 — and other states with anti-spam laws already on the books. (8)

My articles have appeared in numerous publications, including Mother Jones, The National Journal’s Technology Daily, MacWorld, CNN.com, Online Journalism Review, The San Francisco Bay Guardian, and Bankrate.com, to name a few. I’ve worked as a regular technology columnist for the New York Sun, and am currently a regular Silicon Valley contributor for The National Journal’s Tech Daily. (9) I’ve pasted two clips below. The first is a piece from a spam roundtable at ISPCON in Santa Clara last week, (10) straight up reporting. The second is a more stylistic piece on (now ubiquitous) text ads, or micro ads, that I wrote for Online Journalism Review a couple of years back. (11)

Best,
Mat Honan

Key Components of the Pitch

(1) By making the “last week” reference early in the pitch, the writer immediately conveys to the editor that the subject he’s discussing is of the moment. Back to pitch

(2) Citing the various examples of other outlets’ coverage of the law not only helps the writer frame his argument, but is a way of showing the editor that he is up on how his subject is being covered elsewhere in the media, and not writing his pitch in a vacuum. Back to pitch

(3) The writer succinctly articulates the conflict he seeks to highlight, and offers a definitive assessment of the problem. Back to pitch

(4) If you’re going to argue against popular/majority opinion as the crux of a story idea, backing yourself up is crucial. Here, the writer illustrates exactly why his assessment runs counter to that of others. Back to pitch

(5) Here, the writer’s earned the right to be witty and engage in a bit of wordplay, since he’s effectively set up his argument and captured the reader’s attention. Be sparing with humor like this, and only chance it if you’re confident you’ve already stated your story idea clearly and convincingly. Back to pitch

(6) The writer succeeds in pushing the story forward and indicating his confidence in his idea by not merely arguing against something, but also arguing for something — in this case, the absence or elimination of this legislation. Back to pitch

(7) Referring to potential sources this way emphasizes the rhetorical battle between Honan and those who support the legislation. Playing up the element of conflict heightens the excitement factor for the reader. Back to pitch

(8) When citing whom you’ll speak with for a prospective piece, take this writer’s cue and mention those on all sides of the issue. It’ll assure the editor/reader that your approach to the piece, even if it’s opinion-driven, will be balanced. Back to pitch

(9) Mentioning where you’ve published related standalone articles helps show you’re versed in the subject at hand, but being able to say you’re a regular contributor on such topics is even better. Back to pitch

(10) Including a clip relevant to your pitch published as recently as the previous week shows you’re consistently working within your designated area of expertise. Back to pitch

(11) Using an older clip is OK, since the writer has included a newer one, and using both to illustrate the range of his coverage (“straight-up reporting” versus “more stylistic”). Back to pitch

Topics:

Go Freelance, Journalism Advice, Pitches That Worked

Journalism Advice

Pitches That Worked: How a Personal Story Landed an Assignment at Pregnancy Magazine

We study a winning pitch and explain how it sold Pregnancy's editors

By Noah Davis

Noah Davis is a freelance writer and co-founder of Three Point Four Media whose work has appeared in The New Yorker, The New York Times, GQ, The Wall Street Journal, ESPN The Magazine, Sports Illustrated, and Wired, among others. He served as an editor at Mediabistro's FishbowlNY and SportsNewser, and later as a senior editor at Street Fight. He holds a B.A. in Rhetoric from Bates College.

6 min read • Originally published February 27, 2008 / Updated March 19, 2026

By Noah Davis

6 min read • Originally published February 27, 2008 / Updated March 19, 2026

Freelance writer Christy Rippel targeted Pregnancy in part because she had recently given birth and the experience was fresh in her mind. While senior editor Kendra Smith passed on Rippel’s first pitch, she liked her style and requested additional ideas. After quizzing some moms and moms-to-be, Rippel pitched Pregnancy‘s “Stages” section. Smith accepted the idea and it ran in the September 2007 issue. Rippel has since written four additional stories for Pregnancy. Below, Rippel and Pregnancy editor-in-chief Abigail Tuller recall how the pitch went from idea to assignment and break the query down to reveal effective strategies for selling stories.

What the Writer Did

Christy Rippel, freelancer: I was working on making the transition from public relations writing to freelance magazine writing — and Pregnancy was one of the first outlets I approached. The reason I homed in on this publication was that I had just been through my first pregnancy, and had a lot of personal experience to draw from, as well as comments and ideas from fellow moms.

I sent a pitch to senior editor Kendra Smith by [postal] mail, along with three clips. She passed on that story idea, but sent a nice email reply saying she liked my writing style and encouraged me to send additional pitches. I studied the magazine and felt my best chance of breaking in would be the “Your Body” section that covered a topic relevant to each of the trimesters of pregnancy. After brainstorming a few potential ideas, I concentrated on developing one about how to take advantage of the second trimester — largely thought to be the most comfortable stage of pregnancy. I realized that I didn’t take advantage of how good I felt at that stage of the pregnancy because I didn’t realize that was “as good as it gets.” I thought other women could benefit from that message to relish those few fleeting months. I informally polled some of my friends, asking what they did during that time that made them feel good — or, looking back, what they would have done. Their comments and my own experiences became the pitch.

I heard back within a couple of days that Kendra and EIC Abigail Tuller liked the idea, and with a little discussion about how the article should be shaped, I wrote my first piece for them. This has led to four additional assignments from Pregnancy — and a great working relationship.

Why the Editor Bit

Abigail Tuller, EIC, Pregnancy: At Pregnancy, we cover the same topics repeatedly. The second trimester is a tough pitch, because women are generally feeling pretty good, as the morning sickness is usually over but they haven’t gotten to the third trimester yet. In this pitch, Christy found a unique way for pregnant women to take advantage of feeling so good. It’s not something we’d run in the magazine before, so I was sold.

You can tell from this pitch that Christy gets the way we do things at Pregnancy. She starts with a personal anecdote and then gets into the bigger story. She has the right voice: It’s girlfriend-y without getting into too much detail. Usually, I like writers to cite expert sources, but Christy doesn’t need to in this case because she has such strong examples.

In pitches, I want people to tell me where they see their article running in the magazine, as Christy does here. I also liked that she provided subheads such as “Capture your pregnancy” and “Celebrate.” It’s always good to take your pitch one step beyond and, at least for me, subheads will never hinder. If I don’t like them, I’ll just rewrite them. Including them in your pitch makes it much easier to read when your email comes into my inbox, and helps me remember the idea in the future.

The Pitch

Kendra: (1)

I just got the May issue of the magazine, which looks great — but unfortunately all of the queries I’ve sent you recently are covered in this issue! (2) An additional idea that I think could be a great fit for Stages (3) is below.
Have a nice weekend.

Best,
Christy Rippel
Daytime: [redacted]
Evening: [redacted]
E-mail: [redacted]@mac.com (4)

FOR STAGES — SECOND TRIMESTER:
I often joke that I didn’t know how good the second trimester was until it was over. (5) For many moms-to-be, the second trimester is the golden time of pregnancy — most women have recovered from first trimester morning sickness, and haven’t yet met the aches, pains, and swollen feet of the third trimester. I propose an article on taking advantage of the second trimester through five distinct ways listed below, (6) expanded on through advice from experts and personal stories:

INDULGE: (7)
Since your belly is finally blossoming, buy some new clothes that show off your changing figure, or get that hair highlight that your doctor said to avoid in the first trimester. Schedule a pregnancy massage or a pedicure — do what feels good! (8)

TRAVEL:
Consider a babymoon or travel with friends since it will be more difficult after baby arrives, and you could possibly be on travel restriction in the third trimester. I would also include information about anywhere that a pregnant woman should NOT travel. (9)

CAPTURE YOUR PREGNANCY:
It’s a great time to schedule that photo session with a photographer, or to make a cast of your belly.

CELEBRATE:
If your friend is dying to throw you a shower, tell her to go ahead and make the plans for the end of your second trimester. You’ll definitely look the part of the glowing mom-to-be, but you’ll be more comfortable traveling, as well as standing and sitting for long periods chatting with old friends. An added bonus? You’ll get gifts far enough in advance to allow you to finalize the nursery and buy what else you need. (10)

CONNECT WITH YOUR SPOUSE:
Go on dates — savor some time alone when you aren’t talking nursery paint colors, baby names or birth plans. In the unpredictable third trimester, you’ll be glad you did! (11)

Key Components of the Pitch

(1) The writer and editor have a previous relationship and since the editor had given the writer the okay to send other pitches, the informal salutation works here. If you’re unsure which tone to take when pitching, err on the side of formality. Back to pitch

(2) This is a strong, yet subtle way for the writer to acknowledge she’s read the magazine and has ideas that fit its audience. Back to pitch

(3) Pinpointing a particular section in which your article fits well helps an editor envision it as a published piece. Back to pitch

(4) Providing multiple types of contact makes it easier for editors to respond to your pitches. Make contacting you easy and you’re likelier to receive a response. Back to pitch

(5) Since Pregnancy articles tend to hinge on firsthand experience, opening with a personal anecdote works well. However, you should always be sure to link your own experiences to strong examples and/or expert opinion. Back to pitch

(6) The writer spells out exactly what the editor can expect the story to look like, making it easier for the editor to visualize. The clearer you can be about how your story will be presented, the more enticing your idea will be to editors. Back to pitch

(7) Subheads provide a way an easy and effective way structure your pitch, ensuring that editors understand its full scope. Back to pitch

(8) Since her article centers around feel-good tactics for the mid-pregnancy mom-to-be, the writer’s enthusiasm is warranted. Always be sure your story idea and the language used to describe it are consistent, as is shows editors you’ve though through the query. Back to pitch

(9) The writer shows she knows her stuff by ensuring her pitch takes reader’s safety into account. Showing both sides of an issue helps and editor believe you’re the right person to write about it. Back to pitch

(10) Since the ultimate goal of the magazine is to help women through pregnancy, looking ahead to the final stages is a crucial part of many articles, a point the writer skillfully weaves in here. Back to pitch

(11) Since the writer was already in contact with the editor, including clips or links is unnecessary. However, you should always include writing samples in any first pitch to an editor. Back to pitch

If you’ve got a pitch you’d like featured, send it our way!

Topics:

Go Freelance, Journalism Advice, Pitches That Worked

Advice From the Pros

Amy Astley on Building Teen Vogue From the Ground Up

Teen Vogue's EIC on style, identity in a struggling teen mag category

By Stephanie Murg

15 min read • Originally published September 2, 2009 / Updated March 19, 2026

By Stephanie Murg

15 min read • Originally published September 2, 2009 / Updated March 19, 2026

“Fashion starts here” is the motto of Teen Vogue, and the magazine itself starts with Amy Astley. Tapped by Vogue editor-in-chief Anna Wintour to create a smart, fashion-savvy younger sister to Condé Nast’s fashion flagship, Astley edited four Teen Vogue test issues before the publication launched in January 2003.

Since then, she has forged a strong yet endearingly quirky identity for a magazine that prizes creativity and personal style while answering reader questions such as “How do I rock the season’s band jacket without looking like I’m leading a parade?”

The magazine’s latest venture is The Teen Vogue Handbook: An Insider’s Guide to Careers in Fashion, which will be published next month by Razorbill. Astley describes the book as “a useful, practical reference guide” to the areas of fashion design, styling, photography, and journalism. Through tips and life lessons from the Teen Vogue team, as well as industry heavyweights such as Marc Jacobs, Karl Lagerfeld, Pat McGrath, and Robin Givhan, the book provides advice on everything from building a portfolio to landing a coveted magazine internship. As New York gears up for Fashion Week, Astley sat down with mediabistro.com to discuss all things Teen Vogue, from the magazine’s distinctive aesthetic and proudly “girl-centric” voice, to the new book and the educational initiatives that are at the core of both the magazine and Astley’s job description.

Name: Amy Astley
Position: Editor-in-chief, Teen Vogue
Background: Spent four years at HG [the Condé Nast shelter magazine established in 1901 as House & Garden] as assistant to editor-in-chief, assistant editor, and associate editor before moving to Vogue in 1993; served as beauty director at Vogue before being tapped by Anna Wintour to launch and edit Teen Vogue in June 2002.
Birthday: June 5
Hometown: East Lansing, Michigan
Education: Michigan State University (B.A., English literature)
First section of the Sunday New York Times: Business
Favorite TV show: “I’m just getting into Mad Men, but I’ll be honest with you, I’ve seen every episode of Hannah Montana. I love Miley Cyrus. She is so talented. She’s a triple threat.”
Last book read: Losing Mum and Pup by Christopher Buckley and currently reading Crazy for the Storm by Norman Ollestad (“I’m loving it.”)
Guilty pleasure: “Ice cream cones with my kids on the North Fork of Long Island… but I don’t feel guilty about it. I think I deserve it.”

Where did you begin your career in magazines?

I started my career at HG [Condé Nast’s House & Garden]. I was Nancy Novograd’s assistant. It was my first job out of college, and she was the editor-in-chief at that time. I worked at HG for about four years, until the magazine was closed, in 1993. And then I went to Vogue.

Was what your experience at HG like?

HG was a wonderful place to start my career. I love interiors still. I’m crazy about decorating and really thought I would be a decorating editor. That’s what I was training to do, and I had great opportunities at HG. I did styling of interiors, and I wrote a lot. I love writing. I was always a bookworm as a kid — a real bookworm and a words person. I was drawn to work in magazines because I love putting pictures and words together.

I think of myself as style journalist. I love interiors. I love flowers. I love decorating. I love food and tabletop. I love clothes, obviously fashion, so it’s all of a piece to me. At HG, I was lucky that it was a small staff and you could do a lot of different things: style interiors, go on shoots, write copy, learn about the market. I was in the D&D Building, I did fabrics, tabletop, a little bit of everything. I was a junior editor by the time the magazine closed.

**When HG closed, how did you make the move to Vogue?**

This is something I discuss in The Teen Vogue Handbook, in the context of networking. In any job, it’s important to network like crazy with everybody, not in a calculated way, but in a smart way. No one likes to feel that they’re being worked over or operated on. Interns, for example, should network with each other and also the person who is supervising them — and that could be a very junior person. I’ve seen this happen so many times: the guy who runs [the Teen Vogue fashion] closet will decide who the two best interns were for that summer, and those [are the] two that will be recommended for jobs at Teen Vogue or Allure or Vogue.

Vogue wasn’t really a logical move for me. I was in the decorating world. When HG closed, a man named Charles Gandee, who had been creative director at HG and had left for Vogue a year earlier, recommended me to Anna Wintour. I had happened to do a lot of stories about young, fashion-y people at home and was working for Wendy Goodman, who was a great editor. I ended up at Vogue because he suggested me to her. I think the real story is Anna said to him, “I have a few positions open here. Is there anyone from HG you would suggest?” And he said, “Talk to Amy.” He was someone I admired and respected, and I had interacted with him in a positive way. For me, it was good example of the importance of networking and being open to new opportunities.

**The tagline of Teen Vogue is “Fashion Starts Here.” What do you see as the mission of the magazine?**

Teen Vogue is about fashion and style, but it’s really about creativity. What I wanted Teen Vogue to be about was telling girls “Be an individual, be creative, have fun.” It’s not about “How skinny can you be?” or “Do you have the right bag?” Teen Vogue has always been about personal style, customization, DIY, vintage. If you look, for example, on TeenVogue.com at our forums, the girls are really individualistic, and they come to us to affirm their own creativity. And I always use the word “girl-centric.” It’s a girl-centric place. It’s not about boys, and girls like that.

One of the signatures of Teen Vogue is the design elements: the colors, the typefaces. It’s such a visually exciting publication. You have a strong creative team, but is that something that’s also at the top of your mind as editor-in-chief?

Absolutely. I don’t think there’s much point in a fashion magazine that isn’t interesting to look at. That’s absolutely what drives it. And then the voice that comes through in the text is critical, too. I always say to the editors here that when girls are reading the magazine, the words give them a sense of our value system, but the pictures are definitely what drives it and pulls people in. The features are critical, too. To me, the features give you your voice and connect you to the readers. They allow people to find out who you are and what you look like. We’ve always had strong art directors. It’s really key to me. I’m an intensely visual person and care deeply about my environment. I’m obsessed with beauty, to be honest.

The closing page (Last Look / A Room of My Own) of each issue leaves readers with a visual punch — by featuring the bedroom of a “real girl.” I suspect it’s the first page a lot of people turn to.

Ah, the room, I know. Well, the room came from me out of my love of decorating. I always wanted to see what girls were doing with their own bedroom, their own space, and it’s such an important space for girls. And their mom, if she’s even remotely a cool mom, will let them do what they want in there.
I let my kids do what they want in their bedrooms. I just was always fascinated to see how girls personalize their own space, so that’s why that page exists.

Teen Vogue also has a very distinct look that comes through in the fashion spreads. How would you describe that aesthetic and what direction do you and your creative team give to sustain it?

In the beginning, we worked very hard to establish what the Teen Vogue look is, and now I’m really proud that people will point to something and say, “Oh, that’s very Teen Vogue” or “That girl looks very Teen Vogue.” That’s because we did a good job in the early days of establishing what our style is. It’s quirky, it’s personal, a little bit eccentric, definitely layered, lots of accessories. It’s not a designer look head-to-toe. It’s not about being expensive or conforming. It’s really about a personal mix. That’s the Teen Vogue girl.

How did you go about establishing that look when editing the test issues (2000-2002) and officially launching the magazine in January 2003?

I picked good stylists who spoke my language, visually, the right taste. My job is to find people who understand my vision and taste for the magazine and who can push it. I like it when people push me out of my comfort zone and take me to a place that isn’t where I expected to go. I really like that in photographers and stylists, and the best ones take you there because they want to keep growing.

Honestly, every shoot should be a shoot that could only exist in Teen Vogue. And it’s a gut thing. The photographers and stylists either feel it in their gut, as I do, or they don’t, and then we can’t work together. Because you can’t explain everything with words — we’re talking about a sensibility. But really, that’s the best way I can explain it to you.

Given the intuitive nature of the sensibility you’re talking about, how do you address or explain that when things are off the mark?

What I say to stylists, if I’m trying to explain why I don’t like the results of a shoot is “It looks like it could be somewhere else.” If it looks like it could be in a European fashion magazine… Does it look too conceptual? Does it look too arty? Trying too hard? Does it look like it could be in a more junior magazine than ours? It needs to have that Teen Vogue touch. The Emma Watson shoot in August is a perfect example to me. It’s sophisticated, it has Vogue quality, real fashion ideas, [a] charming girl, and a lot of life comes through in the pictures. And that’s what we look for. Not every shoot is great, but I hope all the shoots are good. And I always want shoots that are memorable, because there’s just so much stuff out there. What’s the point in putting out more stuff — images — unless they’re memorable?

**In addition to the Emma Watson cover shoot you mentioned, what is another example of a recent Teen Vogue feature that you consider particularly memorable?**

Also in the August issue, we did a story on baggy boyfriend jeans, which have been out there and celebrities have been shot wearing, but we did it Elvis style. The girl had a little pompadour and little loafers, and it just made a big splash in the fashion community. People really latched onto it as fashion looking new.

Given how the Internet has accelerated and affected the news cycle, has this caused you to adjust how you go about curating the print publication, now that you have the Web site to get things out there immediately?

Not at all. I think that they’re two different animals. Our Web site is not just an extension of the magazine. We don’t just plop the print articles there. We try to give more and different stuff there — things that can’t go in the magazine. I think they’re equally viable places.

Really, the Web site is really a different way for kids to experience Teen Vogue. I don’t edit the magazine differently because of the Web. The thing to me about the Web is that the magazines that have fallen away tend to be gossip and celebrity publications. So, what keeps fashion magazines alive? It’s beautiful photography. That core thing that is Vogue and Teen Vogue — which is beautiful fashion photography — we’re very fortunate that still isn’t really delivered on the Web. People still want to experience it in print.

Teen Vogue has expanded beyond print to gain a presence on a lot of different platforms, from the Web to television, with the MTV reality show The Hills.

Yes, and we’re going to do more TV. We’re working on another project right now.

You’ve also had success with events, such as Teen Vogue Fashion University.

Definitely. Fashion U and also the Haute Spot [a pop-up shop and lounge], which is in malls. We’re about to do our third one, with our advertising team. It’s basically bringing Teen Vogue into the mall, and girls have a space they can come into. We also do a Young Hollywood Party every year in Los Angeles to celebrate our October issue. It’s a major party and a big event there.

Is the goal of activities like these primarily to build and strengthen your readership? To build a community?

We have, and we have to, and we want to, but really, what we’re about is not social platforms. We’re really about education, giving girls opportunities. So we just want to reach them. Maybe we reach them in print, maybe on Twitter, maybe on our Web site, maybe in an email blast. Any way that we can reach them, we’ll reach them.

**That brings us to The Teen Vogue Handbook. What led you to develop this book and why now?**

Over the years, so many girls asked me how to get into the fashion industry, and I just felt that we needed to give them something real, which is this book: a compilation of serious information, combined wisdom. It’s about how to get a job, very practical, but you can extrapolate that it’s about how to be creative. It’s how to have faith in yourself and follow your own path. A lot of girls who think they want to be designers aren’t going to be designers, but I think when they read this book, and they read people’s stories like Guido [Palau], a famous hairdresser who was kicked out of Vidal Sassoon and told he had no talent, they’ll be inspired.

**Does The Teen Vogue Handbook have a core message, or do you see it as essentially a how-to guide?**

Really, the message that comes through is to think for yourself. Think about what you really like to do, what you really want to do, and do it! I say this to kids everyday — whether they’re in my office, the interns, the people who email me — and it’s a cliché and I know it sounds Pollyanna-ish, but you can do the things that you want to do. I’m always saying to girls, “You do have the power to pursue your path.” I’m not saying if you tell me you want to be an actress, you’re going to be Cate Blanchett, but if you want to be actress, you should go pursue being an actress. Maybe you’re going to end up managing a theater, maybe you’re going to end up in PR, I don’t know, but you can work within an industry that you love. And that’s how I feel about fashion, too.

You’ve remarked upon how, in the six years since Teen Vogue launched, you’ve been struck by how the questions young people ask you have changed from “Have you met Justin Timberlake?” to “How can I get an internship?”

This is what’s shocking and amazing. Kids move fast — many of the teen magazines, such as Teen People, which was a huge success, now they’re gone. The world is moving fast, and you have to be ahead of it. You certainly have to keep up, ideally be ahead of it, and you have to be offering something different from what everybody else has. That’s what we try to do at Teen Vogue.

When I started working on the test issue of Teen Vogue [in 2000], the girls all wanted to be a model. Or they’d say, “Do you know Britney Spears?” But now, sometimes people will ask me if I’ve met a celebrity, I’ll get that a little bit, especially from younger girls, but the older ones say, “Tell me about you. Tell me about your job. Tell me about so-and-so’s job on your staff. How do I get an internship? What should I study in college?” It’s relentless. I try very hard to give them real information — something they can work with. I’ve always felt very strongly that every kid who is interested in Teen Vogue and what we do, we owe it to them to give them back as much as we can.

**That belief is manifested literally with the CFDA/Teen Vogue scholarship, which the magazine awards annually in partnership with Target. How did that program come about?**

So many kids say, “I want to be a designer.” So you find yourself cobbling together an email for a million different people, saying try this, try that. But the scholarship was a way to say, look, we are going to support you. You have to apply, and it’s a full-on process with mood boards, transcripts, and recommendations. But if they get through all that, we know that they’re serious and then we do a selection process. Designers — Proenza Schouler, Phillip Lim, all of these people — have helped me choose the winners. We just chose our third winner, and the top winner gets $25,000 to go to design school. It’s major. It’s a major thing for a high school student to find out in the fall of their senior year that they’re getting $25K, or $5K for the runner-up, from Teen Vogue. It’s a way for us to put our money where our mouth is to give back to them. It’s important to us to show our support for young people, to support young design talent, and to be specific: You want to be a designer? Okay, we’re going to help you.

So education is always something you’re thinking about?

Yes. Our bigger picture is education. Even [with] The Hills, it was a fluffy show, but the two girls were interns, and they were struggling with questions such as “How do I balance my personal life and my work life?” and “How do I have a career?”

It’s interesting, because that educational focus comes through in many of the magazine’s features, but you’re not beating people over the head with it.

The thing I always say, too, is that I came into this thinking, “I’m a fashion person. I’m making a great style magazine.” Oh, no! Within a short time, a year into it, I thought, “Oh my God, I am a guidance counselor, an adviser.” I write to them. I mean, the kids want guidance. They see you as inspiring. When I say “you,” I mean the magazine, the magazine’s world. They see our world. I say that in the book: “Welcome to our world,” the creative world. They see us and everybody who works here as role models, because we have an interesting career. They see that we’re passionate and that the product we create is a wonderful product. It’s transporting them, and they want to be part of it. So, they kind of forced it on me. The idea came from them that, “You’re going to help me make the life I want.”

Does that responsibility — to act as a kind of guidance counselor as well as an editor-in-chief — ever overwhelm you?

I am personally involved with a lot of girls who have come through Teen Vogue over the years. You can’t touch everybody in a personal way, but I hope that the things we do, like Fashion U — 500 kids come through every year and they love it — will touch them personally. The book will touch them personally, and the magazine does also. They really want to be inspired and guided, and there’s a lot of yucky stuff out there for kids to look at and a lot of, I think, really degrading images of women out there in pop culture. And I hope that when they’re in the world of Teen Vogue they see yes, it’s about beauty and enjoying fashion, but we’re also very much about their careers and their health: the whole picture. We care about them.

[This interview has been edited for length and clarity.]

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Advice From the Pros, Be Inspired