What the New York City housing market looks like at 5 different price points
By
Stacker Feed
2 min read • Published September 14, 2021
By
Stacker Feed
2 min read • Published September 14, 2021
Arina P Habich // Shutterstock
What the New York City housing market looks like at 5 different price points
A record rise in home prices across the country was brought about by record-low interest rates on home loans, soaring demand from buyers, and a housing shortage exacerbated by hesitancy among developers.
Sundae looked to its internal database of homes to show what houses look like at five different price points in New York-Northern New Jersey-Long Island, NY-NJ-PA, ranging from $100,000 to $1 million. For each price point in New York-Northern New Jersey-Long Island, NY-NJ-PA, Sundae lists how many houses are for sale, as well as show an example and characteristics of one of these homes.
In June, properties remained on the market for an average of just 17 days—24 less days than the year prior—and the median price for an existing home was up 23% over June 2020, according to a report from the National Association of Realtors. Out of all homes on the market, 90% have generally been selling within one month.
Continue reading to find out more about the housing market in New York-Northern New Jersey-Long Island, NY-NJ-PA.
Sundae
$100,000-$200,000
– Sales of $100,000-$200,000 homes: 16,769
— Average number of bedrooms: 1.1
— Average square feet: 1,228
Sundae
$200,000-$300,000
– Sales of $200,000-$300,000 homes: 33,475
— Average number of bedrooms: 1.1
— Average square feet: 1,320
Sundae
$300,000-$500,000
– Sales of $300,000-$500,000 homes: 86,004
— Average number of bedrooms: 0.9
— Average square feet: 1,562
Sundae
$500,000-$750,000
– Sales of $500,000-$750,000 homes: 63,865
— Average number of bedrooms: 0.9
— Average square feet: 1,944
Sundae
$750,000-$1,000,000
– Sales of $750,000-$1,000,000 homes: 27,479
— Average number of bedrooms: 1.0
— Average square feet: 2,337
From the time television entered mainstream culture, TV programming has mirrored our lives, evolving and shifting as society has grown and changed. In the ’50s and ’60s, there were crime dramas like “Dragnet,” Westerns like “Bonanza,” and of course, sitcoms like “I Love Lucy” and “The Honeymooners.” But, while comedy series have always been a big part of the world of television broadcasting, the comedies of the 1970s were something special.
Television of the ’70s opened up topics that were previously off-limits, such as sexuality and racism. It replaced the more mundane Westerns and family-centric shows of the ’60s with series that were more in tune with the changes taking place in the world. Comedy TV also evolved, from escapist fun like “Mork & Mindy” to satirical shows that dealt with real-world problems, as seen in “Maude” or “Soap.”
In 2026, we’re celebrating the 50th anniversary of memorable sitcoms like “Laverne & Shirley” and “Alice,” along with deeper-cut cult series like “All’s Fair” and “Bewitched” spinoff “Tabitha.” Of course, 1976 also saw the debut of comedic series that weren’t sitcoms, including “The Muppet Show” and “The Brady Bunch Hour.”
The enduring appeal of these shows and more is a reminder that some comedy is timeless, but remembering those early days has had us feeling nostalgic. While modern-day TV series are great, it’s always fun to take a look at hits from the past, especially those classic comedy shows from the ’70s. Stacker compiled data on all comedy TV shows from 1970 to 1979 and ranked them according to IMDb user rating, with ties broken by votes. To qualify, the show had to have at least 1,000 votes. Only English-language shows were considered. IMDb data was current as of March 2026.
Take a look at the best comedy TV shows of the ’70s.
Warner Bros. Television
#25. The Dukes of Hazzard
– IMDb user rating: 7.1
– Years on the air: 1979–1985
Good ol’ boys and cousins Bo and Luke Duke have some wild escapades in this series, which starred Tom Wopat, John Schneider, and Catherine Bach as their cousin Daisy. The show never won any major awards, but did have a strong fan base, with lasting popularity that led to a 2005 film version with Johnny Knoxville, Seann William Scott, and Jessica Simpson in the lead roles.
Henderson Production Company, Inc.
#24. Mork & Mindy
– IMDb user rating: 7.2
– Years on the air: 1978–1982
This sci-fi comedy hit was the first starring role for famed actor Robin Williams. The show was a spin-off from an episode of the series “Happy Days” in which Williams played an alien called “Mork, from Ork.” Williams won a Golden Globe for Best Actor in a Television Series for the role, and the show was also nominated for an Emmy for Outstanding Comedy Series.
CBS
#23. Maude
– IMDb user rating: 7.3
– Years on the air: 1972–1978
Starring Bea Arthur, Maude debuted as a spin-off of the popular television series, “All In The Family,” telling the story of Edith’s cousin, a liberated woman, living in Tuckahoe, New York. The show garnered Arthur an Emmy for her performance and received other award nominations during its run.
Warner Bros. Television
#22. The Sylvester & Tweety Show
– IMDb user rating: 7.3
– Year on the air: 1976
An animated series featuring Warner Brothers favorites Sylvester the Cat and Tweety Bird, the antics of these two characters kept viewers of all ages in stitches. Famed voice actor Mel Blanc played both characters, as well as portraying many other Warner Brothers characters over the course of his career.
BBC
#21. To the Manor Born
– IMDb user rating: 7.4
– Years on the air: 1979–2007
A Brit-based series starring Penelope Keith and Peter Bowles, “To the Manor Born” tells the story of a woman, Audrey fforbes-Hamilton, who finds out she must leave her stately home after the death of her husband. The home is purchased by Peter Bowles’s character, Richard De Vere, and the two eventually find themselves falling in love. The show was nominated for four BAFTA awards, including two for Best Comedy Series.
ABC Television
#20. Happy Days
– IMDb user rating: 7.4
– Years on the air: 1974–1984
He’s an award-winning filmmaker and director these days, but Ron Howard was also famously known for his role as Richie Cunningham in this popular family-friendly television series. “Happy Days” also starred Marion Ross, who won an Emmy for Supporting Actress; Henry Winkler, who won a Golden Globe for his role; and Tom Bosley. The show enjoyed a long run, with multiple award nominations and wins. Howard reunited with co-stars Anson Williams and Don Most at MegaCon Orlando in February 2025. During the panel appearance, he reflected, “We were so cohesive as an ensemble unit. We really connected in a great way. And it’s one of the reasons the show has endured.”
If you’re holding out hope for a “Happy Days” revival, however, it may be time to move on. In a May 2025 interview with People, Howard put it plainly: “We’re not doing a reboot.”
Hanna-Barbera Productions
#19. The Scooby-Doo/Dynomutt Hour
– IMDb user rating: 7.6
– Years on the air: 1976–1978
Consisting of two 30-minute episodes, “The Scooby-Doo/Dynomutt Hour” took animated crime-fighting to the next level. One part of the show featured Scooby and the gang solving mysteries, and the other part shared the adventures of superhero The Blue Falcon and his trusty robot-dog sidekick, Dynomutt. “The Scooby-Doo/Dynomutt Hour” was just one iteration of the “Scooby-Doo” franchise, which has produced multiple series and films. Most recently, Mindy Kaling brought the grown-up series “Velma” to HBO Max, and Netflix announced the first live-action “Scooby” series in March 2025.
BBC
#18. Open All Hours
– IMDb user rating: 7.6
– Years on the air: 1976–1985
Another British hit, “Open All Hours” starred Ronnie Barker as Albert Arkwright, a curmudgeonly shopkeeper who cares about two things: his profit margins and his longtime love, Nurse Gladys. Barker also starred in the award-winning series “The Two Ronnies” as well as the ’70s series “Porridge.”
Yorkshire Television
#17. Rising Damp
– IMDb user rating: 7.7
– Years on the air: 1974–1978
Starring Leonard Rossiter as conniving landlord Rigsby, “Rising Damp” kept viewers laughing through four seasons, as Rigsby tried (and failed) to scam his tenants at every turn. The show won a BAFTA award in 1978 for Best Situation Comedy, as well as receiving multiple other nominations. For the show’s 50th anniversary in 2024, The Telegraph praised “Rising Damp” and said it could never be made today.
Euston Films/ITV
#16. Minder
– IMDb user rating: 7.8
– Years on the air: 1979–1994
A con man hires a retired boxer to protect, or “mind” him, from other small-time criminals in this hit show, which received five BAFTA award nominations over its 10-season run. The series was remade in 2009, but the remake didn’t catch on as well as the original and only lasted one season.
BBC
#15. The Two Ronnies
– IMDb user rating: 7.8
– Years on the air: 1971–1987
This BBC comedy enjoyed 12 successful seasons, with stars Ronnie Barker and Ronnie Corbett performing a mix of skits and musical numbers together for each episode. The show won a total of five BAFTA Awards during its run, and was nominated for 17 others.
Metro-Goldwyn-Mayer, Inc. (MGM)
#14. The New Tom & Jerry Show
– IMDb user rating: 7.8
– Years on the air: 1975–1977
There’s nothing like a little cat and mouse to keep viewers happy, and the animated series “The New Tom & Jerry Show” was enjoyed by young and old. Featuring a modern twist on the classic cartoon, Tom the cat and Jerry the mouse had endless, always hilarious, battles as they plotted against each other. The show got its start in 1940 as animated shorts created by Hanna-Barbera for MGM. It went on to have several television spin-offs, as well as feature films. For the 85th anniversary of Tom & Jerry in 2025, Warner Bros. Discovery has planned a year-long celebration featuring new specials, products, and events.
There are even new Tom & Jerry shows on the horizon—or at least, new to American audiences. The anime series “Tom and Jerry Gokko,” which debuted in Japan in 2022, launched in the U.S. on YouTube and HBO Max in late 2025.
BBC
#13. Not the Nine O’Clock News
– IMDb user rating: 7.9
– Years on the air: 1979–1982
Another award-winning British comedy series, “Not the Nine O’clock News” starred Rowan Atkinson, Pamela Stephenson, and Mel Smith, with various sketch comedy performances. The show won two BAFTA Awards and was nominated for five others during its four-season run.
BBC
#12. The Fall and Rise of Reginald Perrin
– IMDb user rating: 8.0
– Years on the air: 1976–1979
Dissatisfied and bored with his life, Reginald Perrin, played by actor Leonard Rossiter, fakes his own death and returns in disguise in this series, only to find things haven’t changed at all! Rossiter also starred in the popular series “Rising Damp,” along with multiple feature film roles and television appearances. Fans of this classic show hoping that it’s making a much-delayed comeback are in for some bad news: “The Fall and Rise of Reggie Dinkins,” which premiered on NBC in February 2026, is not a remake.
Avengers Mark 1 Productions
#11. The Professionals
– IMDb user rating: 8.0
– Years on the air: 1977–1983
Actors Martin Shaw and Lewis Collins play British Criminal Intelligence agents Doyle and Bodie, working with their controller, George Cowley, played by Gordon Jackson. In addition to “The Professionals,” Jackson starred in several feature films, as well as the popular British drama series “Upstairs Downstairs.”
BBC
#10. The Good Life
– IMDb user rating: 8.0
– Years on the air: 1975–1978
In this series, a suburban family decides to live a self-supporting lifestyle by growing their own vegetables and raising their own farm animals, much to the horror of their neighbors, as the family lives in the suburbs. Starring Richard Briers, Felicity Kendal, and Penelope Keith, the show ran for four seasons, with Keith winning a BAFTA Award in 1977 for Best Light Entertainment Performance. In celebration of the show’s 50th anniversary, the now 85-year-old Keith appears in the feature-length special “The Good Life: Inside Out,” which was announced by U&GOLD in May 2025.
BBC
#9. Are You Being Served?
– IMDb user rating: 8.0
– Years on the air: 1972–1985
Showcasing classic British humor at its finest, “Are You Being Served?” takes viewers into the world of an old-school style department store, where staff and management alike get into all kinds of mischief. The series ran for 10 seasons, and was revived in 1992 as the show “Are You Being Served? Again!” which brought back the original cast and had them trying to make a go of running a rural hotel after the department store shuts down. Sadly, the death of Mike Berry in April 2025 means that all cast members of “Are You Being Served?” have now passed.
NBC Television // Getty Images
#8. Saturday Night Live
– IMDb user rating: 8.0
– Years on the air: 1975–present
Debuting in 1975, this sketch comedy show is still going strong, launching the careers of countless comedians over the last five decades. Created by writer-producer Lorne Michaels, the series originally featured a group of then-unknown actors, including John Belushi, Chevy Chase, and Gilda Radner, performing skits that were as irreverent as they were funny. The storied show has had its ups and downs but remains one of the most iconic series on television. That’s never been clearer than in its 50th anniversary year, with celebrations that included multiple specials highlighting the enduring impact of “SNL” and the stars it’s produced.
ITC Entertainment
#7. The Persuaders!
– IMDb user rating: 8.0
– Years on the air: 1971–1972
Award-winning actors Tony Curtis and Roger Moore team up in the 1971 hit “The Persuaders!” where they portray two playboys who are forced to work together as crime investigators. The show, which ran for just one season, won a Bambi Award for TV Series International and a Logie Award for Best Overseas Drama: U.K.
BBC
#6. Porridge
– IMDb user rating: 8.3
– Years on the air: 1974–1977
After getting sentenced to five years in prison, Norman Stanley Fletcher, played by actor Ronnie Barker, must learn to navigate life behind bars and everything that goes with it in this comedy series. Barker won two BAFTA Awards for Best Light Entertainment Performance for his work, and the show also won a BAFTA for Best Situation Comedy. The 50th anniversary of “Porridge” in 2024 prompted reflections on how the series found humor in grim circumstances.
ABC Television
#5. Soap
– IMDb user rating: 8.3
– Years on the air: 1977–1981
This soap opera spoof starred Katherine Helmond and Cathryn Damon as sisters Jessica Tate and Mary Campbell, who were constantly (and quite dramatically) dealing with their family’s problematic lives and various issues. The show also starred comedian and actor Billy Crystal in his breakout role as Jodie Dallas, Mary Campbell’s son, which was the first time an openly gay character was portrayed in American television.
Warner Bros. Television
#4. The Bugs Bunny/Road Runner Show
– IMDb user rating: 8.3
– Years on the air: 1978–1985
Featuring the best of the beloved Looney Tunes episodes, “The Bugs Bunny/Road Runner Show” ran for six seasons, eventually getting sold to ABC and developed into “The Bugs Bunny and Tweety Show.” This particular Looney Tunes series was somewhat infamous amongst fans, as it edited out much of the violence that appeared in the original Warner Brothers cartoons.
Henson Assocaites
#3. The Muppet Show
– IMDb user rating: 8.4
– Years on the air: 1976–1981
It might seem hard to believe that a show with a cast that consisted primarily of puppets would become a beloved and long-lasting hit, much less the winner of multiple awards, but “The Muppet Show” did just that. Created by writer and actor Jim Henson, the series starred assorted Muppet characters in its core cast, including Kermit the Frog, Miss Piggy, and Fozzie Bear, as well as assorted celebrities who would appear on each episode. The show won a total of four Emmys and was nominated for 25 other awards.
While the Muppets, of course, live on, their most recent series, “Muppets Mayhem,” was canceled after one season in 2023. And the beloved Walt Disney World attraction MuppetVision 3D closed its doors for good on June 8, 2025.
SCTV
#2. SCTV
– IMDb user rating: 8.5
– Years on the air: 1976–1981
SCTV, which starred actors such as Eugene Levy, John Candy, and Catherine O’Hara, was set around a fictional television station, with skits that were satires of film and television. Levy and O’Hara went on to act together in several feature films, including the Christopher Guest mockumentaries “Waiting for Guffman” and “Best in Show,” as well as the much-loved television series, “Schitt’s Creek.”
BBC
#1. Fawlty Towers
– IMDb user rating: 8.8
– Years on the air: 1975–1979
The story of incompetent hotel owner Basil Fawlty, played by actor John Cleese, “Fawlty Towers” ran for two seasons, during which time it won two BAFTA Awards and a Broadcasting Press Guild Award. The series was also awarded an Online Film & Television Association Hall of Fame Award in 2009. In honor of the show’s 50th anniversary, Cleese has written “Fawlty Towers Fawlts and All: A 50th Anniversary Celebration,” which was released in October 2025.
Looking for more ’70s TV nostalgia? Check these out.
Janelle Harris Dixon is a narrative journalist, copywriter, and content strategist with more than 20 years of experience covering race, culture, equity, and social justice. Her work has appeared in Essence, Ebony, The Atlantic, Rolling Stone, the Washington Post, Smithsonian, and more than 50 other publications. She holds a B.A. from Lincoln University and an M.A. in African American Studies from Temple University.
5 min read • Originally published November 18, 2015 / Updated May 11, 2021
Janelle Harris Dixon is a narrative journalist, copywriter, and content strategist with more than 20 years of experience covering race, culture, equity, and social justice. Her work has appeared in Essence, Ebony, The Atlantic, Rolling Stone, the Washington Post, Smithsonian, and more than 50 other publications. She holds a B.A. from Lincoln University and an M.A. in African American Studies from Temple University.
5 min read • Originally published November 18, 2015 / Updated May 11, 2021
Circulation: 1.5 million Frequency: 10 issues a year Special issues: None
Background: As part of Rodale’s family of leading healthy-lifestyle publications, Women’s Health is all about action. Launched in 2005 to give readers the tools, information and resources to make instant changes to live their best, most fit lives, the magazine shot up to claim one of the top spots in women’s health and fitness media — and stayed there. Being healthy isn’t all about core strengthening and raw-veggie diets. It encompasses traditional, mental, emotional and financial health, and Women’s Health masterfully covers those topics to give readers what they need to be holistically well and inspired.
Competitors like Self, Shape and Health remain relevant, but Women’s Health differentiates itself by digging deeper into issues that other wellness-focused magazines may not. Every month, at least one special report explores a current topic of interest — such as domestic violence, heart health and drug developments. And with nearly two dozen international editions serving more than 15 million newsstand purchasers, subscribers and pass-along readers, the Women’s Health brand is among the fastest-growing international women’s magazines in the world. Freelancers who want to get in on the growing conversation, which crosses cultures, geographies and communities, are welcome to bring their ideas to the table.
What to pitch: More often than not, editors craft story ideas in house and assign them out to their regular freelancers, but there is opportunity aplenty for new writers to get in the mix, too. “Each month, at least one piece in our beauty, fitness, health, food, love + life and features departments is written by a freelancer,” said deputy editor Sascha de Gersdorff. When a pitch has merit but falls short of being perfect for the magazine’s venerable pages, editors are willing to help freelancers tailor it to the brand. However, they don’t have time for hand-holding, which makes knowing the mag, its voice and its breadth of content even more important if you want to get as close to right the first time.
The best way to score a byline is to pitch a relevant, well-researched idea that breathes new life into a current health or fitness topic. “Most of the magazine is open to smart freelance ideas, from one-pagers to big reports or packages, but please — please! — read several issues of the magazine before sending us ideas,” de Gersdorff stressed. “Too often, we get pitches on topics far outside the WH wheelhouse of health and wellness or we get pitches on stories we’ve already done or that other publications have already overdone. Make sure your ideas are newsy, buzzy and based on actual research and make sure they include — or can be tweaked to include — reader service.” Bonus points, she added, for coming up with a unique angle or hook on a topic, meaning you’re not just pitching “this is really trendy right now” stories, but you’re putting an original spin on it that makes it matter to Women’s Health readers.
What not to pitch: The fashion department is written in house, as are the “Ask Anything” and “Discuss” sections.
Percentage of freelance content: 75 percent Percentage of freelance pitches accepted: 3 percent
Online opportunities: The magazine’s online team is always looking to build their arsenal of new, talented freelancers, de Gersdorff assured. Like most of the dot-com iterations of print megabrands, the site culminates the same kind of content readers love about the mag — sex, love, life, health, weight loss — just more of it. Sixty percent of content is written by freelancers; only 15 percent of pitches are actually accepted, but once a freelancer demonstrates consistency and skill, she’s likely to be called on for assignments.
Editors are looking for stories that are timely but still on-brand. A good example: writer Zahra Barnes pitched “5 Signs His Apology Is Bullsh*it,” based on a contestant’s repeated apologizing during The Bachelorette’s “After the Rose” special. “We loved how this writer took a current pop-culture event and thought about how it could be used as a hook for a larger story that would be relevant to our readers,” said de Gersdorff. The writer also included input from an expert — one of the hallmarks of Women’s Health service pieces — which made the story even more successful.
The rate for online posts starts at $75 with the potential for increases, depending on the frequency of assignments, depth of research and reporting, and skill level. Multimedia pitches are especially in demand.
What publicists should pitch: Editors don’t do much product coverage, so PR folks should take note when sending along potential story ideas to the Women’s Health staff. That goes for both print and online. They are, however, always interested in timely stories, new studies and insightful experts, all of which should be pitched directly to the editor of the department that’s the best fit. Also of interest: celebrity stories tied to health, wellness, fitness and beauty.
Recent freelance story pitched and published: “I Know You See This…,” a feature on the online harassment of women, ran in the May 2015 issue. Freelancer Carrie Arnold nailed the assignment by taking a topic that was already newsy, doing preliminary research full of compelling statistics and studies, and outlining potential sources — real women and experts — which is crucial to the Women’s Health editorial formula. “Her pitch had a sense of urgency and was also written in a WH-like voice, proving she got what we’re all about and the way we aim to engage our readers,” de Gersdorff explained.
Etiquette: No phone calls, please. Editors prefer emailed pitches with clips, which don’t have to be health or fitness related. They can spot a good reporter regardless of the subject matter.
Lead time: Four to five months Pay rate: $1 to $2 a word Payment schedule: Following approval of final story Kill fee: 25 percent Rights purchased: All rights, including international
Contact info:
Women’s Health
733 Third Avenue
New York, NY 10017-3204
(610) 967-5171 www.womenshealthmag.com Twitter | Facebook
Email convention: FirstName.LastName@hearst.com
Direct pitches to:
Editor in Chief Liz Plosser: LIZ dot PLOSSER at HEARST dot COM
Junior Fitness Editor Kirsti Buick: KIRSTI dot BUICK at HEARST dot COM
Associate Love and Lifestyle Editor Lindsay Geller: LINDSAY dot GELLER at HEARST dot COM
Senior Beauty Editor Chelsea Burns: CHELSEA dot BURNS at HEARST dot COM
Executive Digital Health Editor Amanda Woerner: AMANDA dot WOERNER at HEARST dot COM
Deputy Managing Editor Laura McLauglin: LAURA dot MCLAUGHLIN at HEARST dot COM
[EDITOR’S NOTE: Though we’ve updated this article recently, the speed at which things move in media means things may have already changed since then. Please email us if you notice any outdated info.]
Dana Robinson is a freelance health, beauty, and culture writer with 20 years of experience creating content for publications including Shape, WeightWatchers, Wine Enthusiast, AARP, and Southwest: The Magazine. She holds a master's degree in mass communication from California State University-Northridge.
4 min read • Originally published June 23, 2015 / Updated May 11, 2021
Dana Robinson is a freelance health, beauty, and culture writer with 20 years of experience creating content for publications including Shape, WeightWatchers, Wine Enthusiast, AARP, and Southwest: The Magazine. She holds a master's degree in mass communication from California State University-Northridge.
4 min read • Originally published June 23, 2015 / Updated May 11, 2021
Monthly unique visitors: 20M Updated: Daily
Background:Wired magazine launched in 1993 while HotWired, its online counterpart, sprang to life a year later. Both the digital and print versions were owned by Wired founders Louis Rossetto and Jane Metcalfe, but a parting of the ways was on the horizon. In 1998, Condé Nast purchased Wired, while HotWired (by then renamed Wired.com) was sold to Lycos. The two halves were finally reunited in 2006 when Wired.com was sold by Lycos to Condé Nast.
In 2015, the site underwent a complete redesign—its first since 2007. The revamp was two years in the making and readers can now enjoy sections that are constantly refreshed and pages that load much faster than their pre-redesign speeds. The vastness of the Internet has allowed Wired.com to publish more stories than the print edition, “but tonally and in terms of quality, the content is the same,” says news and opinion editor Emily Dreyfuss.
And the goal of this content is to “point out what is going to be important in the future to our readers and to try to make sense of what’s in the news now and how that is going to affect our lives going forward,” she explains.
What to pitch: All Wired.com section editors accept unsolicited pitches, and the “Opinion” section is one of the best places to get your foot in the door. Editors are looking for a diverse troop of voices with a strong opinion on just about any topic (but save your views on fashion, politics and lifestyle issues that have no bearing on tech culture for another outlet). Articles for this section run from about 700 to 1,200 words, are almost always written in the first person and can be submitted on spec.
Like its print counterpart, Wired.com is targeted to a general-interest reader, not just techies and science enthusiasts. And it sets itself apart from all of the online noise by emphasizing accuracy and analysis over speed. “We’re much less interested in breaking the news than explaining why it matters,” continues Dreyfuss. “Right now the Internet is a game of who can write it first, not necessarily who can write it better. And we’re not playing that game.”
The “Entertainment” and “Wired Automotive” sections are also very freelancer friendly. Articles in these departments are reported pieces and run from about 500 to 1,200 words. “Entertainment” is a prime spot to pitch your ideas about gaming, TV, movies, Internet culture and comics; while “Wired Automotive” covers all things transportation, cars and city infrastructure. Writers can also include their own photos along with the pitch to help illustrate their point of view. It won’t guarantee that your pitch will be accepted, but it can definitely get an editor’s attention.
Photojournalists also have a good shot of getting their images into the “Raw File” section. The entire department is dedicated to highlighting new photographers.
What not to pitch: All sections of the site are open to freelance writers, but editors do not accept pitches for infographics.
What publicists should pitch—and when: Dreyfuss recommends that publicists familiarize themselves with the site to get an idea of what types of items they should pitch. Once you have the perfect pitch in mind, be sure to keep it concise and direct it to the correct department. Lead time for PR pitches is at least two weeks.
Percentage of freelance content published: 10 percent Percentage of freelance pitches accepted: Less than 10 percent
Recent freelance story pitched and published: Magician and author Rick Lax pitched “There Aren’t Many Women in Magic, But Those Who Are Kick Ass,” which ran in the “Opinion” section. “A piece like this exemplifies exactly what we’re looking for in ‘Opinion,'” says Dreyfuss. “He was in a privileged position to notice the phenomenon, and it was a phenomenon we hadn’t written about before—but it falls into our wheelhouse. It has expertise, surprise and novelty.”
Etiquette: Email is the way to go, and a short, well-thought-out pitch that gets to the point is what editors want. Include a little bit about your background, what makes you qualified to write the piece and links to clips. No need to submit a resume.
Dreyfuss notes that editors are inundated with pitches, so your pitch really needs to stand out. She also notes that the easiest way for a pitch to be passed over is to send it to the wrong person. By the time it gets into the hands of the right editor, the story may no longer be timely. Therefore, it is imperative to know your editor and to know your department.
Lead time: As short as the day breaking news happens Pay rate: About $150 for reported pieces; about $250 for features Payment schedule: Four weeks after publication Kill fee: None Rights purchased: All rights
Contact info:
520 Third Street, Suite 305
San Francisco, CA 94107 Twitter | Facebook
Email format: FirstName_LastName@wired.com
Direct pitches to:
Culture Critic Senior Editor Jason Kehe: JASON_KEHE at WIRED dot COM
For entertainment, senior editors Peter Rubin or Angela Watercutter:
PETER_RUBIN at WIRED dot COM;
ANGELA_WATERCUTTER at WIRED.com
For science, deputy editor Adam Rogers:
ADAM_ROGERS at WIRED dot COM
Game Editor Saira Mueller:
SAIRA_MUELLER at WIRED dot COM
For gear, senior editor Michael Calore:
MICHAEL_CALORE at WIRED dot COM
EDITOR’S NOTE: Though we’ve updated this article recently, the speed at which things move in media means things may have already changed since then. Please email us if you notice any outdated info.
Dana Robinson is a freelance health, beauty, and culture writer with 20 years of experience creating content for publications including Shape, WeightWatchers, Wine Enthusiast, AARP, and Southwest: The Magazine. She holds a master's degree in mass communication from California State University-Northridge.
4 min read • Originally published November 28, 2018 / Updated May 10, 2021
Dana Robinson is a freelance health, beauty, and culture writer with 20 years of experience creating content for publications including Shape, WeightWatchers, Wine Enthusiast, AARP, and Southwest: The Magazine. She holds a master's degree in mass communication from California State University-Northridge.
4 min read • Originally published November 28, 2018 / Updated May 10, 2021
To some consumers, wine is just something that you get to drink when you turn 21. But for others it’s a gateway into a world of flavors, textures and experiences that are to be savored as they dance on the palette–and the latter is more likely to be the type of person who reads Wine Enthusiast.
The publication’s lifestyle-oriented content separates itself from other wine-centric publications, and its mission is to reach those who are interested in travel, food, spirits, and beer or are looking to learn more about wine in a more serious way, says Layla Schlack, senior editor. Its readers live primarily on the coasts and the median age is about 45. However, the publication doesn’t really have a demographic target, says Schlack. “We’re really just aiming for people who love wine.”
What to pitch: Wine Enthusiast has a “fairly deep roster” of freelance writers who editors turn to for story ideas that are generated in house. But newbies still have a chance to get their feet in the door by pitches to any of the following sections:
The Crush: This FOB section is filled with reported pieces that are wine-centric and trend driven, but do not focus on a single destination. Word count: 350.
The Last Drop: Editors are looking for a wide range of voices and experiences to fill this personal essay page. The focus must revolve around an interaction with wine, but please avoid pitches that describe a transformative moment that made the writer fall in love with wine—unless you can find a really interesting angle that bumps the story up to a new level. And funny pitches are always appreciated. Word count: 400.
Features: Freelancers are welcome to take a crack at pitching feature ideas, but these stories are more likely to be assigned to established writers who have worked with Wine Enthusiast editors. These articles should be highly technical and address what’s happening in a specific place or a vintage. It can address industry trends, but profiles are discouraged.
Note: Schlack notes that very few pitches come in ready to be assigned exactly as pitched. So if the story idea isn’t quite ready for prime time, the editors will work with the writer to shape it into a pitch that will work for the publication.
What not to pitch: The Destination and Viewpoint columns are both handled in house.
Online opportunities: Editors are looking for food and trend pieces that can fit into the online Travel, Food and Drinks sections. Think wine-focused city guides; beer, spirits or food trends; (bonus points if those trends have a wine angle) or wine travel. Word count: 750-1250.
Freelancers can also pitch “non-review” content for the Wine Basics section. These articles are aimed at the less-than-expert wine drinkers. Word count: 1250-1500.
Freelancers are paid .50/word for online content.
What publicists should pitch — and when: If you have a celebrity client who has a connection to the wine world, then feel free to send along a pitch. Editors are also interested in hearing about new restaurants and bars that have exceptional wine programs. And please scale back the urge to submit tons of press releases about wine products. Wine Enthusiast doesn’t do a lot of product coverage. Lead time: 6-7 months.
Percentage of freelance content published: 70% Percentage of freelance pitches accepted: 5%
Recent freelance stories pitched and published: The New Sparkling Wines of the Northeast was pitched by a freelancer, and it “just ticked all of the boxes,” says Schlack. “This style of wine—pet-nats, nontraditional grapes—are on trend. Emerging regions are always of interest to our more knowledgeable readers, while sparkling wines are of interest to everyone. Plus, this writer has a good knowledge of both wine and the region in question.”
A Journey to the Heart of Mexican Wine appeared in The Last Drop first-person section. Schlack notes that most Mexican wines are not available outside of Mexico, so there aren’t many stories dedicated to them. “It’s also an example of how that conceit of ‘I went to a place and drank a great wine,’ can work if there’s just a little more to it,” she says.
Etiquette: Keep your pitches to about one paragraph in length. And it’s perfectly acceptable to pitch 4 or 5 story ideas at a time (but no more than that, please.)
Lead time: 6-7 months Pay rate: $1 a word Payment schedule: Invoice on acceptance. Kill fee: Case by case Rights purchased: All rights
Contact info:
Wine Enthusiast Media
200 Summit Lake Dr., 4th Fl.
Valhalla, NY 10595
WineMag.com
Twitter handle: @WineEnthusiast | Facebook
FirstInitialLastName@WineEnthusiast.net
Direct pitches to the appropriate editor:
For features: managing editor Lauren Buzzeo: LBUZZEO at WINEENTHUSIAST dot NET
For other print pitches: senior editor Layla Schlack: LSCHLACK at WINEENTHUSIAST dot NET
Life Style and Entertainment Editor Mike DeSimone and Jeff Jenssen: MIKEANDJEFF at WINEENTHUSIAST dot NET
Food Editor Niles Bernstein: NBERNSTEIN at WINEENTHUSIAST dot NET
[EDITOR’S NOTE: Though we’ve updated this article recently, the speed at which things move in media means things may have already changed since then. Please email us if you notice any outdated info.]
Dana Robinson is a freelance health, beauty, and culture writer with 20 years of experience creating content for publications including Shape, WeightWatchers, Wine Enthusiast, AARP, and Southwest: The Magazine. She holds a master's degree in mass communication from California State University-Northridge.
3 min read • Originally published June 28, 2018 / Updated May 10, 2021
Dana Robinson is a freelance health, beauty, and culture writer with 20 years of experience creating content for publications including Shape, WeightWatchers, Wine Enthusiast, AARP, and Southwest: The Magazine. She holds a master's degree in mass communication from California State University-Northridge.
3 min read • Originally published June 28, 2018 / Updated May 10, 2021
Circulation: 15,028
Frequency: Monthly
Special issues: Natural Product Retailer Survey (March); Natural Choice Awards (April); Industry Directory (May); Retailer of the Year Issue (July)
Background: For more than 40 years WholeFoods Magazine has been dedicated to providing its readers with the lowdown on the natural products and whole foods industries. This trade publication is often mistaken for having a connection to the popular Whole Foods Market grocery store chain, but it’s actually an independently run publication. “We’re not affiliated with Whole Foods Market, but we cover whole foods,” says Laurie Peterson, editor-in-chief.
Natural products and whole foods retailers make up the bulk of WholeFoods’ readership, but the publication is also geared toward supermarket owners as well as drug stores owners and industry distributors and manufacturers. The publication sets itself apart from niche outlets by covering the entire natural products market, from health and beauty products to supplements and organic food.
What to pitch: Freelancers are relied upon to pen stories that are conceived in-house along with pitched articles—and the feature well is the best section to aim your dart. Editors are looking for reported pieces that cover everything from children’s health to new scientific developments in the industry.
Feature stories have also been known to dig pretty deeply into the science behind a product or trend—oftentimes including interviews with researchers who conduct scientific studies. “[This allows] someone who is trying to stay up on the latest product developments [to also be] able to educate their customers,” says Petersen.
She also likes to see stories that cover industry trends that have a bit of staying power, like shifts in eating patterns or consumer habits. Having access to heavy-hitters in the industry, like CEO-level titans, can help bump your pitch to the top of the pile. Including multimedia content won’t hurt either.
Word count: 2500-4000.
Editors also accept pitches for advertiser-based custom content, like e-books and white papers. So, if you’re thinking of pitching to this section it’s a good idea to familiarize yourself with WholeFoods’ advertisers.
What not to pitch: The “Vitamin Connection,” “Merchandising Insights,” and “Legal Tips” columns are all handled by dedicated columnists. News stories are handled in-house.
What publicists should pitch—and when: Editors are happy to receive pitches about new natural food and beverage products, as well as health and beauty products, and dietary supplements. But before you press the send button, make sure that the products you’re pitching can be carried by independent retailers. Lead time is two months, but products can also be sent on an ongoing basis.
Etiquette: Keep the emails concise and be sure to include a few samples of your work. If you don’t hear back from an editor in a week or two feel free to follow up. No phone calls, please.
Lead time: Two Months
Pay rate: $350-$500 for features; $1500+ for custom content
Payment schedule: Invoice on acceptance. Payments usually made within 15 days.
Janelle Harris Dixon is a narrative journalist, copywriter, and content strategist with more than 20 years of experience covering race, culture, equity, and social justice. Her work has appeared in Essence, Ebony, The Atlantic, Rolling Stone, the Washington Post, Smithsonian, and more than 50 other publications. She holds a B.A. from Lincoln University and an M.A. in African American Studies from Temple University.
5 min read • Originally published October 12, 2015 / Updated May 10, 2021
Janelle Harris Dixon is a narrative journalist, copywriter, and content strategist with more than 20 years of experience covering race, culture, equity, and social justice. Her work has appeared in Essence, Ebony, The Atlantic, Rolling Stone, the Washington Post, Smithsonian, and more than 50 other publications. She holds a B.A. from Lincoln University and an M.A. in African American Studies from Temple University.
5 min read • Originally published October 12, 2015 / Updated May 10, 2021
Circulation:The Knot‘s print magazine has a distribution of 330,000, and its regional publications have a total distribution of 1.2 million. Frequency: The national edition of The Knot publishes four times a year; the regional issues are distributed semi-annually, though not all at the same time; a new same-sex digital magazine publishes every June.
Background: Just like every bride wants her wedding to stand out from the 2.4 million or so others filling up church sanctuaries and garden courtyards every year, The Knot, the flagship brand of parent company XO Group Inc., differentiates itself from competitors in the bridal magazine market by making women feel like part of a larger community. It’s the foundation for their conversational tone, insider approach and four-tiered brand, which includes the 13-year-old national publication, a heavily trafficked website, a new LGBT digital edition and The Knot Weddings, a series of planning guides specific to 16 local markets: Colorado, Michigan, Missouri/Kansas, Texas, Pennsylvania, California, New England, the Carolinas, Florida, Georgia, Ohio, DC/Maryland/Virginia, New Jersey, New York, Minnesota and Chicago.
Editorially, The Knot is responding to trends on the rise. Wedding budgets are increasing — the national average, according to the brand’s annual 2014 Real Weddings Study, is $31,213 — but couples are cutting their guest lists down in order to make their weddings more memorable for the people who witness them. “There’s a big emphasis now on wowing your guests and spending a little more money to make it a great party,” said associate editor Ivy Jacobson. “They’re focusing on great entertainment or a cool lounge or a great after-party, and they’re cutting back on the guest list to create a more thoughtful, intimate guest experience.” Creating content that meets that trend is high on editors’ list of priorities.
The number of brides using their cell phones to plan their weddings has doubled in just three years and TheKnot.com is the top wedding site, so digital offerings are also a compelling and integral part of The Knot‘s continued credibility and community-growing. Still, the common threads between print and digital are loads of service, a tell-it-like-it-is voice and inspiring photos. The brand offers the kind of advice you’d get from your best friend, not your mom. And since it draws from millions of “Knotties” and their real experiences, problems and tips, the content resonates with other researching, planning and working brides-to-be.
What to pitch: One of the biggest opportunities for freelancers, and one of the hallmarks of the magazine are the “Real Weddings” features. Dig into the couple’s personality for great storytelling about who they are and how they designed their magical day — down to the centerpieces and personalized programs — and pair those details with beautiful photography. Editors are looking for interesting angles, fresh themes, and fun photos to really make the pages come to life and give readers loads of new ideas.
“We’re all about a really unique couple’s story or weddings that tossed tradition. Our new corporate motto is ‘yours truly,’ and we’re looking for couples who do something different, go outside the box,” said Jacobson. “With pitches, we’re similarly looking for something different. We have the resources for the planners and the classic tried-and-true stories, so to [approve] a pitch we’d want to see something unique.”
In addition to first-person stories that resonate, editors are looking for more health and fitness pieces, and cool beauty stories that will help brides envision and prepare for their big day. “We prefer more of an expert on the topic. You don’t necessarily have to work in that field, but if you’re a beauty writer, we’d probably look more favorably on that than a lifestyle writer,” explained Jacobson. Admittedly, editors generate story ideas in house and assign them to freelancers to be written more often than they accept pitches from freelancers. So think service, think new perspectives on perennial topics, then think of pitch editors can’t refuse.
What not to pitch: The fashion editor generates most, if not all, of that content, so consider the fashion pages off-limits. Likewise, avoid pitching engagement stories and post-honeymoon pieces — or direct them to The Knot‘s sister outlet The Nest.
Online opportunities: Garnering more than 5 million unique visitors each month, TheKnot.com is the go-to resource for all things wedding. It’s also wide open for bridal-minded freelancers aspiring to write in that premium space. First-person essays are welcome, but overall, the site seeks content that is newsy and compelling, including interesting bridal trends. “There’s some overlap between the magazine and the website — some stories from the magazine go up online and vice versa — but the website generally posts untraditional things you might not see in the magazine,” said Jacobson.
What publicists should pitch: Editors and publicists work together across all sections, so the entire mag is open to relevant pitches. “We get a lot of great story ideas from them and we frequently use their experts,” Jacobson confirmed. Email is the best way to contact eds; follow up in two weeks if you haven’t received a response, just like a freelance pitch.
Percentage of freelance content: There’s no exact figure because it varies from issue to issue. Percentage of freelance submissions accepted: 10 percent for the national Knot and website; 20 percent for the regional mags
Etiquette: Email pitches to the appropriate editor with clips or a link to samples on a website. Freelancers can expect a response rather quickly, but it’s fine to follow up after two weeks if you haven’t heard back.
Lead time: 12 weeks for the print publication; online can be as short as two days Pay rate: $.50 to $1 a word Payment schedule: On acceptance Kill fee: 40 percent Rights purchased: All North American rights
[EDITOR’S NOTE: Though we’ve updated this article recently, the speed at which things move in media means things may have already changed since then. Please email us if you notice any outdated info.]
Dana Robinson is a freelance health, beauty, and culture writer with 20 years of experience creating content for publications including Shape, WeightWatchers, Wine Enthusiast, AARP, and Southwest: The Magazine. She holds a master's degree in mass communication from California State University-Northridge.
3 min read • Originally published January 29, 2019 / Updated May 10, 2021
Dana Robinson is a freelance health, beauty, and culture writer with 20 years of experience creating content for publications including Shape, WeightWatchers, Wine Enthusiast, AARP, and Southwest: The Magazine. She holds a master's degree in mass communication from California State University-Northridge.
3 min read • Originally published January 29, 2019 / Updated May 10, 2021
Monthly Unique Visitors: 6.2 million
Background: The print version of The Bump was left behind a few years back to make way for TheBump.com. The site targets millennial moms with its mobile-first content that helps readers navigate through fertility and pregnancy to the toddler and pre-school years, says Ashlee Neuman, senior editor.
The site separates itself from other mommy-to-be outlets by providing readers with a mix of well-reported, expert-driven content with a fun, relatable voice. “Our readers appreciate it when we tell life like it is. Parenting isn’t always perfect. It’s messy, it’s challenging…so we like to think of ourselves as the voice of a generation that really is all about honesty,” says Neumann. “If you’re reading an article on The Bump we’re hoping that you feel like you’re chatting with a really supportive, understanding, and incredibly informed friend.”
What to pitch: The site is primarily focused on pregnancy and the early stages of parenting. So pitches can run the gamut from health-oriented stories (pregnancy health, health of the child) to lifestyle, travel, product round-ups and trend pieces.
Readers are looking to The Bump for realistic solutions and honest experiences, so editors are also interested in first-person stories. “We really love first-person pieces,” says Neumann. “It does help to make some of the challenges of pregnancy and parenting more relatable and feel more manageable.” Stories can focus on any aspect of parenting, but they are not limited to the views of moms and dads. Aunts, uncles and grandparents should feel free to pitch a first-person story as long as it resonates with readers and feels authentic and honest.
Since the Internet has no space limitations, there are no firm rules about word count. The length of the article depends on how long it takes for the writer to convey her point.
What not to pitch: Most of the news stories are generated in house.
What publicists should pitch—and when: Pitch products that make life easier for parents. Books, experts, and studies are also appreciated, as well as emerging research. Lead time: 1-2 months.
Percentage freelance content: 25% Percentage of freelance submissions accepted: 10-15%
Etiquette: Pitches should be simple and to the point. Keep them to about 1-2 paragraphs and include links to relevant clips.
Lead time: 1-2 months Pay rate: Varies depending on the assignment. Payment schedule: Payment within 30 days of invoice Kill fee: Varies Rights purchased: All rights
Contact info:
THEBUMP.COM
195 Broadway 25th Floor
New York, NY 10007 Thebump.com
Twitter handle: @thebump| Facebook
FirstInitialLastName@theknotww.com
Direct all pitches to:
For stories about health, fitness, food, travel, lifestyle: Deputy Editor, Ashlee Neuman: ANEUMAN at THEKNOTWW dot COM
For stories about trends, news, research, or events: associate editor, Nehal Aggarwal: NAGGARWAL at THEKNOTWW dot COM
Senior Editor Cassie Kreitner: CKREITNER at THEKNOTWW dot COM
Janelle Harris Dixon is a narrative journalist, copywriter, and content strategist with more than 20 years of experience covering race, culture, equity, and social justice. Her work has appeared in Essence, Ebony, The Atlantic, Rolling Stone, the Washington Post, Smithsonian, and more than 50 other publications. She holds a B.A. from Lincoln University and an M.A. in African American Studies from Temple University.
5 min read • Originally published July 15, 2015 / Updated May 10, 2021
Janelle Harris Dixon is a narrative journalist, copywriter, and content strategist with more than 20 years of experience covering race, culture, equity, and social justice. Her work has appeared in Essence, Ebony, The Atlantic, Rolling Stone, the Washington Post, Smithsonian, and more than 50 other publications. She holds a B.A. from Lincoln University and an M.A. in African American Studies from Temple University.
5 min read • Originally published July 15, 2015 / Updated May 10, 2021
Circulation: 130,000 (print); 2.6 million monthly unique visitors (online) Frequency: Bimonthly Special issues: Feb/March: Spring Travel, Queerest Cities; April/May: Health/HIV; June/July: Pride; Aug/Sept: Fall Travel; Oct/Nov: The Vanguard, which profiles LGBT leaders and thinkers; Dec/Jan: Year in Review/Person of the Year
Background: My, how The Advocate has grown. Sprouting from its humble beginnings as a mimeographed newsletter dispensing information to its then-LA-based audience, its ownership has changed, its coverage has broadened and it was streamlined to a bimonthly production schedule. But its editorial mission of reporting for an LGBT readership is still the same. Now in its 48th year, the title’s commitment to conveying the events, experiences and figures relevant to LGBT interests is still as fresh as it was back in its early days.
Brand expansion over the years means the mag not only appeals to a larger audience in the United States, it’s also garnered a growing international following in Canada, Mexico, Australia and the UK. Published by Here Media, the same company that produces brethren gay fashion, style and culture bible Out, The Advocate is in a class by itself. “There are lesbian-specific publications, there are trans-specific publications, there are gay-men-specific publications,” said editor in chief Matthew Breen, “but in terms of an LGBT magazine, we really don’t have competitors. We’re the only magazine in the space.”
What to pitch: Editors are interested in original reporting and cultural and political analysis which, combined with a relatively long lead time, gives freelancers the opportunity to come up with great story ideas. “I’m less interested in chasing the day-to-day trends than I am at looking at longer-term cultural currents,” Breen added, pointing out that news items’ relativity to the LGBT community is an angle The Advocate is always eager to explore.
Front-of-book stories are pretty equally comprised of assignments farmed out to writers and pitches that have been given the greenlight, and typically run anywhere from 200 to 1,000 words. Writers with something pertinent to share with this audience are encouraged to think up ideas for “The Spectator” section, which houses arts and entertainment pieces on film, TV, music, visual arts, dance, books, theater and travel, as well as longer essays on these topics that range from 1,600 to 2,000 words.
Profiles on amazing individuals, nestled in the meaty part of the mag, are also ripe for the pitching — as are usually-hard-to-nab feature stories, both in the print edition and online (these range from 2,000 to 3,000 words). Also highly pitchable: “Daily Dose,” which runs in every issue and is an HIV-related rotating column covering stigma, dating, relationships, testing and treatment in the form of personal essays or research-driven pieces. The book also opens with a politics essay that freelancers can target.
What not to pitch: Poetry gets an automatic “no,” and fiction pieces are better suited for Out, a fellow Here Media publication that sometimes runs short stories. Reprints — from the Web or print — aren’t accepted, and simultaneous submissions won’t be considered either. Breen and his team also prefer to get pitches rather than completed articles because they “tend not to match our style,” he said.
Online opportunities: The award-winning, pitch-friendly Advocate.com is as ripe for freelance contributions as its print counterpart. A stable of freelancers cover breaking news, bisexuality, marriage equality, transgender issues, HIV, music, TV/film and theater. Sunnivie Brydum, managing editor, admits to being “particularly interested in visual pieces that we can turn into slide shows. This often mean photo projects, gallery shows — if we can run images of the show — or other visually compelling pieces. In general, we want to highlight the untold stories of the LGBT community, not just those that are flashy and grabbing mainstream coverage.” Freelancers won’t be paid, to Brydum’s regret, but the online team is always accepting resumes for traffic-based, part-time paid positions. None are open at the moment, but it’s good to be on file just in case.
Percentage of freelance content: 75 percent Percentage of freelance pitches accepted: Breen is reluctant to give an estimate because “it varies based on the issue,” he explained.
Recent freelance stories pitched and published: “How PrEP Is Being Blocked By Bureaucracy” chronicled in the May 2015 issue how Los Angeles county officials have slowed the dissemination of HIV-related programming. And “An Ode to Anti-Assimilationist Filmmaking,” also in the May issue, celebrated the work of artist Leo Herrera.
What publicists should pitch: Arts and entertainment pitches are particularly important to “The Spectator” section, so send those judiciously. Breen and his fellow editors are turned off by news and consumer items that lack an LGBT angle specifically or an interesting twist in general. Mass emails are fated with an almost instant deletion. “I’m constantly asking to be taken off of blasted email pitch lists. I know publicists have a lot of work to do, but I find lists irritating and not useful,” he confessed.
Etiquette: “I would encourage freelancers to pitch me on Twitter. I spend a lot of my time there and there’s less white noise,” said Breen. His communication preference also keeps writers’ messages from being lost in his congested email inbox. “Tweet me, I’ll follow back and we can discuss the story idea on direct message.”
Lead time: Three to four months Pay rate: Varies, according to amount of reporting and the writer’s experience; negotiated at the time of assignment Payment schedule: 45 days after publication Kill fee: 25 percent Rights purchased: Exclusive rights unless the writer elects to request non-exclusivity after 90 days
For online, email NEWSROOM at ADVOCATE dot COM or submit a pitch through the website’s contact form (category: Send us a tip), which goes to all in-house editors
[EDITOR’S NOTE: Though we’ve updated this article recently, the speed at which things move in media means things may have already changed since then. Please email us if you notice any outdated info.]
Dana Robinson is a freelance health, beauty, and culture writer with 20 years of experience creating content for publications including Shape, WeightWatchers, Wine Enthusiast, AARP, and Southwest: The Magazine. She holds a master's degree in mass communication from California State University-Northridge.
4 min read • Originally published October 11, 2017 / Updated May 7, 2021
Dana Robinson is a freelance health, beauty, and culture writer with 20 years of experience creating content for publications including Shape, WeightWatchers, Wine Enthusiast, AARP, and Southwest: The Magazine. She holds a master's degree in mass communication from California State University-Northridge.
4 min read • Originally published October 11, 2017 / Updated May 7, 2021
Monthly Unique Visitors: 24 million
Background: Sports Illustrated has been keeping its readers up to date on all things related to sports for more than 60 years. But when the digital age came knocking in the mid-90s the brand answered the call with SI.com. The website is no less than a thriving sports news website that features scores of original content, including videos and a live, daily talk show, SI Now.
There are many editorial outlets that offer sports coverage, but SI.com sets itself apart by providing not only the scores and stats that readers want, but also telling stories that no one else is getting. “We’re always looking for ways to tell the stories of the teams and the leagues…without doing the exact same thing that everybody else does,” says Ted Keith, senior editor. The website’s mission is to provide impactful articles that get noticed by its target audience of 18-49-year-old males.
What to pitch: The bad news is that editors are acceptingfewer freelance pitches than ever before, thanks to a trimmed-down budget. But the good news is that freelancers with a well-crafted pitch still have a chance to achieve the dream of seeing their byline on SI.com.
Editors already have access to in-house writers and go-to freelancers who can cover the big stuff, like college basketball and the World Series. So, when you’re preparing your pitch, Keith recommends thinking about stories that would cause you to stop in your tracks if you were looking on a social media feed. Therefore, stories about who won the game last night or basic profiles about an overexposed athlete won’t cut it. “We want the story that is coming from a fresh approach or is telling a story that we haven’t heard before,” says Keith.
Editors are open to stories pertaining to a myriad of sports, from baseball and basketball to soccer, golf, tennis, hockey, and boxing. The site is mainly focused on stories about sports that are popular in the US, but freelancers may have a chance at scoring a byline about athletes who are popular in other parts of the world if the story is well presented.
Keith also cautions freelancers about pitching stories about young athletes who have passed away. Readers are most likely checking out the site during their breaks at work or on their daily commute and those types of stories “[aren’t] always the way you want to spend the break that you have in your day,” says Keith. While the site does run some stories of that nature, editors like to maintain a balance of uplifting as well as neutral stories. Articles for the site typically run 750-1500 words.
What not to pitch: All sections are open to freelancers.
What publicists should pitch — and when: Insuring that your client or product has a sports-related tie-in will help increase your chances of getting through the editorial gates. Lead time is 2-4 weeks.
Percentage of freelance-written content: Less than 10%
Percentage of freelance pitches accepted: Less than 5%
Recent freelance stories pitched and published: One Shot: North Carolina’s Isaiah Hicks Has a Last Chance to Make His Own History was pitched by a college student who later became an SI.com intern. Editors loved the pitch because the writer displayed top-notch reporting skills and had access to a subject that other outlets hadn’t covered yet.
Etiquette: Pitches should be no longer than one or two paragraphs and accompanied by links to clips. And if writers are willing to take a gamble they can even submit an entire completed article for consideration. If the story is about a lesser-known athlete, feel free to submit photos along with your pitch.
Lead time: 2-4 weeks. But if the pitch is surrounding a major athletic event, like spring training or team drafts, then send your ideas in even sooner.
Pay rate: $200-$400 per article
Payment Schedule: Payment received within about 6 weeks.
Co Editor in Chief Ryan Hunt: RYAN underscore HUNT at SIMAIL dot COM
Senior Editor Richard O’Brien: RICHARD underscore OBRIEN at SIMAIL dot COM
Senior Editor Jason Schwartz: JASON dot SCHWARTZ at SIMAIL dot COM
EDITOR’S NOTE: Though we’ve updated this article recently, the speed at which things move in media means things may have already changed since then. Please email us if you notice any outdated info.
