Why Your Editor Isn&#8217;t Getting Back to You and What to Do About It

Why Your Editor Isn’t Getting Back to You and What to Do About It

By Mediabistro Archives

4 min read • Published November 2, 2016

By Mediabistro Archives

4 min read • Published November 2, 2016

Archive: This article was originally published by Mediabistro around 2016. It is republished here as part of the Mediabistro archive.

You’ve been sending pitch after pitch to no avail.
While the editors you’re reaching out to may very well have overstuffed inboxes, there also could be something wrong with your pitches.
To help you make the necessary changes for future pitches, here are top reasons why editors aren’t responding to—or passing on—your pitches.

You Follow Up Too Soon

Sure, it can be tempting to check up on that pitch you sent, but it’s usually better to wait.
“I’ve worked as a freelancer too,” says Desiree Cole, digital senior editor at Star Magazine, “I remember the urge to repeatedly check for new messages until your finger hurts. But I can’t tell you how much the act of patience means to editors.”
Because an editor’s inbox is almost always overflowing with pitches and other emails, the act of sorting through it all can take time. “Most of the time, your pitch was flagged and I have every intention of writing you back before the end of the day,” says Cole.
Get inside information on what to pitch niche publications, up-to-date contacts for magazine editors and more. Join AvantGuild, our exclusive membership program for freelance writers and other media professionals.

It’s Not a Good Fit For the Readers

One of the most important things you can do as a writer is to make sure the pitch you’re sending is targeted towards the audience of the publication.
Judy Penz Sheluk, senior editor of New England Antiques Journal and editor of Home BUILDER Magazine Canada, says she’ll pass on a pitch if, “[i]t’s not a good fit for our reader, demographic and/or if the person clearly has never read a single issue and is just sending out mass emails to anyone and everyone.”
Sheluk says one quick way to assess the publication’s audience is by taking a look at their ads. “If all the ads are for anti-aging cream, don’t pitch an article on how to get rid of teenage acne,” says Sheluk.
So before pitching to any publication, you should really do your homework as far as the type of content it creates, how the content works in the different sections and how the publication speaks to its audience.

Your Pitch is Too Casual…

While we seem to be moving towards a more relaxed way of communicating in some areas of business, a pitch is not the place to leave out formalities.
“This isn’t a text message or email to your friends,” Sheluk says. “It’s a business communication and should be treated as such.”
Sheluk recalls a couple times too-casual pitches made it straight to her no pile. “I’ve received pitches addressed as ‘Hey there’ without using my name—if you are going to take the time to pitch an article, you should know who the editor is and you should spell their name correctly—and I’ve had them addressed as ‘Hey Jude’—only my mother gets away with Jude.”

…Or Too Rambling…

So you’ve made a dent on the industry with your articles and think you need to mention that in your opening graf. Cole’s advice? Get to the punch line.
“I definitely don’t need a two-paragraph introduction about your experience in the industry before your money-maker line,” says Cole. “By the time I get to your pitch, my eyes have already glazed over.”
So rather than run the risk of losing the editor’s attention, Cole has a better idea: “Put your idea in the first sentence or two, then maybe a line or so about yourself can’t hurt, but don’t go crazy.”

…Or Too Vague

Another reason pitches get passed is when the story idea is just too general, and lacks that all-important angle.
“Media outlets are hungry for content that’s not already out there,” says Cole. “That being said, don’t pitch too broad of an idea—like new haircuts—nor ideas that feel cheesy—like how to do this like a pro. Find an angle that you think hasn’t been reported much and explain why it would benefit the readers right now.”

You Made One—or a Few—Typos

Think about it, how well did you proof your last pitch? Did you give it a full proofread, or a quick once-over? While spelling errors happen to the best of us, you should try your absolute best to keep them out of your pitch.
“Spelling and/or grammatical errors in the pitch guarantee a rejection, “says Sheluk, “if you can’t get the query right, what will the article look like?”

Topics:

Productivity

Best Time of Day to Write Without Making Mistakes

You could be making more mistakes in your writing depending on whether you're an early bird or a night owl.

By Mediabistro

The Mediabistro editorial team draws on 25 years of media industry expertise to cover jobs, careers, and trends shaping the industry.

1 min read • Originally published October 11, 2016 / Updated October 11, 2016

By Mediabistro

The Mediabistro editorial team draws on 25 years of media industry expertise to cover jobs, careers, and trends shaping the industry.

1 min read • Originally published October 11, 2016 / Updated October 11, 2016

When it comes to our productivity and creativity some of us thrive in the sun while others burn the midnight oil. But have you ever wondered if the time of day affects your accuracy?

The folks over at Grammarly did, so they analyzed over one billion words proofread by their app and summed up their findings in this helpful infographic.

They found that overall, early birds make fewer mistakes than night owls. Other insights include:

On average, writers make 3x more mistakes on social media than email
Night owls confused words (think Than vs. Then) 66% more than early birds
Writers make the fewest mistakes after lunch

When do you notice yourself making the most writing mistakes? Whether you’re early to rise or a creature of the night, check out the infographic to see how error-prone your brethren are.

Topics:

Be Inspired, Productivity

The Interview Questions That Can Make or Break Your Chances of Landing That Job

By Mediabistro Archives

1 min read • Published October 3, 2016

By Mediabistro Archives

1 min read • Published October 3, 2016

Archive: This article was originally published by Mediabistro around 2016. It is republished here as part of the Mediabistro archive.

Interviews can be nerve-racking—especially when the recruiter or hiring manager tosses you curve balls that can throw you off your game. Tough questions can seem unfair, but they’re your potential future boss’s way of getting a taste of your work ethic, career goals and personality.
Take our quiz to find out if you know how to answer the tricky questions you can bet will be asked during your next interview.

Topics:

Pitches That Worked

How to Pitch: Shape

Pitch health and nutrition stories with unusual hooks for this active lifestyle mag.

By Andrea Williams

@AndreaWillWrite

Andrea Williams is an author, journalist, and columnist for The Tennessean with over 16 years of experience in journalism and 20 years in copywriting and communications strategy. Her work spans national outlets and high-traffic digital brands.

4 min read • Originally published May 12, 2015 / Updated September 29, 2016

By Andrea Williams

@AndreaWillWrite

4 min read • Originally published May 12, 2015 / Updated September 29, 2016

Circulation: 2.5 million
Frequency: 10 issues a year; January/February and July/August are double issues
Special issues: None

Background: Even though things rarely stay the same in magazine publishing, many people were surprised to learn that, after purchasing Shape magazine from American Media, Inc. (AMI), media conglomerate Meredith Corporation decided to shutter longtime rival Fitness. While it was a move that seemingly diminishes the amount of healthy-living content for active women, Pam O’Brien, the former Fitness editor who has now moved over to Shape as deputy editor, assures readers that the opposite is true. Fitness mainstays like the “I Did It” weight-loss success column and the quick-but-effective “Express Workout” will now be featured in Shape‘s pages. “So you will get the Fitness feeling in Shape,” says O’Brien, “but it will very much be Shape, in the sense that it’s for women who are active, healthy and who make being fit and living their best life a priority.”

And from a competition standpoint, O’Brien notes that the absorption of some of Fitness‘ content and staff further differentiates Shape from titles like Women’s Health and Self. “We have more of an emphasis on being fit and active, and more workouts in our pages,” she says. “[The Shape reader] is a woman who’s already very healthy, and she’s fit and she’s loving this life. And every month she turns to our pages to get more advice and new ideas to keep doing that.”

What to pitch: In addition to the editors who made the transition from Fitness to Shape, freelancers who have regularly written for both magazines will be sticking around, too. The good news is that editors are always on the lookout for new writers and new voices, especially when it comes to health and nutrition content.

The “Live Healthy” section is fertile ground for pitches covering the latest in health news and trends. While O’Brien notes that it may be difficult to come up with a novel spin on tried-and-true concepts for readers who are already up on the latest in healthy living, those writers who can are sure to score an assignment. “Think about what’s in it for the reader, what is she going to learn from this and what new thing is this teaching her,” says O’Brien.

Features in “Live Healthy” average two to three pages and 750 to 1,000 words in length, as do the stories in the “Eat Right” section of the magazine, which is also prime for pitching. There, content should focus on new research in nutrition and how women can power-up their diets to best fuel their healthy lives.

What not to pitch: The “Beauty” section is written by staffers and is primarily closed. And while great fitness and workout ideas will be considered if they’re strong enough, there are two fitness editors on staff who write content for those sections, so landing a byline there will be very difficult.

What publicists should pitch: First and most important, says O’Brien, is to look at the masthead and make sure you’re sending your pitch to the right person. Then be sure your pitch doesn’t highlight something Shape has already covered. “Highlight what’s fresh and new and why it’s relevant to the reader,” O’Brien says. And don’t send product to the offices unless requested, as there simply isn’t enough space for it.

Percentage of freelance content published: About 25 percent
Percentage of freelance pitches accepted: Because the Fitness and Shape merger is still fairly recent, O’Brien says it’s too early to gauge the number of pitches editors receive and the number that will be accepted. But, again, editors are always looking for new writers.

Recent freelance stories pitched and published: As mentioned previously, it’s too early to tell, as O’Brien has yet to accept a pitch for this newest iteration of Shape.

Etiquette: Ultimately, says O’Brien, a creative idea is paramount, and a working hed and dek helps editors get a quick feel for the concept. It’s also important for writers to have a smart concept for packaging the story, as well as clear understanding of the service element for the reader. Finally, says O’Brien, be sure to highlight any new research that’s relevant to the story and include links to clips or a personal website so editors can see what other publications you’ve written for.

Lead time: Current lead time is five to six months, as Meredith is still working out the kinks with its newest publication. The ample time also allows editors to plan for the biggest get-in-Shape packages of the magazine that usually run at the beginning of the year and in the summer.
Pay rate: From $1.50 to $2 a word
Payment schedule: On acceptance
Kill fee: 25 percent
Rights purchased: All rights

Contact info:
Shape Magazine
805 Third Avenue
New York, NY 10022
www.Shape.com
Twitter | Facebook
Email format: FirstName.LastName@shape.com

Direct pitches to:
For “Live Healthy” articles, health editor Mirel Ketchiff: MIREL dot KETCHIFF at SHAPE dot COM
For “Eat Right” articles, nutrition editor Marnie Soman Schwartz: MARNIE dot SCHWARTZ at SHAPE 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.

Topics:

Uncategorized

How To Pitch: Guardian US

Pitch stories that surprise for the U.S. edition of this 195-year-old publication

By Corinne Grinapol

@Corinneavital

Corinne Grinapol is an assistant editor covering energy and environment at Engineering News-Record, with previous editorial roles at Adweek's FishbowlDC and Mediabistro. She studied international relations at SUNY Geneseo.

7 min read • Originally published September 19, 2016 / Updated September 19, 2016

By Corinne Grinapol

@Corinneavital

7 min read • Originally published September 19, 2016 / Updated September 19, 2016

Monthly unique visitors: 25 million
Special features: N/A

Background: In the months leading up to the launch of Guardian US in September 2011, its 195-year-old British parent publication had an American audience of more than 10 million unique visitors accessing Guardian.co.uk, a sizable base upon which to debut its American platform. But, still, success was not guaranteed. After all, this was not The Guardian’s first venture into the States. Guardian US’s predecessor, Guardian America, had closed its offices and sent staff back to British HQ after just two years in Washington, DC.

This time, however, things went differently. For one, Guardian US started over in a new city, choosing New York as its headquarters. The pub’s dedicated U.S. site (then Guardiannews.com, now Guardian.com/us) has not only retained the 10 million U.S. uniques, it has grown that number by more than double, to 25 million. A skeletal staff of 15 has expanded to 100-plus employees. The current Guardian US editor is Lee Glendinning.

“The Guardian’s mission is to sustain trusted, quality journalism that is independent of external commercial or political interests,” explains features editor Jessica Reed. That ability to practice unfettered journalism is buoyed by the org’s ownership structure, sustained by the Scott Pelley Trust, whose mission from its founding has been to provide The Guardian with the resources and independence to do its thing.

This extends to Guardian US, which, according to Reed, aims to “bring Guardian’s culture of independence and openness to American readers.” These aren’t empty words. Guardian US’s risky but brave decision to publish a series of stories based on the NSA documents procured by Edward Snowden culminated in its winning the 2014 Pulitzer for public service.

It is this type of in-depth coverage that hits the sweet spot not just for awards committees, but for the Guardian US audience, who “tend to be 18- to 35-year-olds, progressive in their political inclinations, curious about the world and active on social media,” notes Reed. It is an audience that is looking for work that “challenges beliefs and assumptions,” and The Guardian US has room to report on what hasn’t been covered, and challenge what has been poorly covered.

What to pitch: Guardian US’s arts, sports, opinion, money, business and features sections all accept freelance submissions. Each department has its own requirements and guidelines, and it’s recommended you familiarize yourself with the specific section you plan to pitch. Some, like opinion, have posted submission guidelines online.

Editors are looking for freelancers to contribute blog posts, “reactive” stories, profiles, interviews, human-interest stories, and, to a lesser extent, listicles and humorous pieces, says Reed. If you are good at trendspotting, pitch one when you find one. Your human-interest stories should also tie to a larger trend. As an example of a reactive story, Reed points to a piece published in the sports section—a defense of Patriots QB Tom Brady in the wake of Deflategate. In a flurry of Pats criticism, it stood out and filled a hole.

As a general rule, filling holes can make for a not-to-be-ignored pitch: Find an original angle, spot what’s missing in coverage around a topic, or focus on something that hasn’t received coverage.

If you’re hungry to pitch a feature to The Guardian, Reed lets you in on her particular interests and requirements in a post she put up on Medium, complete with her editorial motto for the year: “I do not want to be convinced; I want to learn.” Subjects she’s eager to learn more about include: technology, religion, feminism (in practice, not theory), sexuality and the sciences, translated for the layperson. Reed has no hard and fast rules on word count, and will work with a writer to establish the best length for a piece.

Reed wrote the post when she was the incoming features editor, and after settling into her role, she posted a follow-up, with a question she wants freelancers to answer: “How will your story be illustrated?” Providing photos—whether taken by you or a professional photographer, or provided by the subject of the stories—is one very welcome plus.

And here’s a bonus for the social-media obsessed: Forging a relationship with editors on Twitter can help. “Knowing what writers care about makes it easier for editors to keep them in mind,” explains Reed.

What not to pitch: Don’t pitch hard-news stories; these are rarely assigned to freelancers. Editors will occasionally take essays and investigative pieces, but in the words of Reed, “They need to be very, very good to be published.”

Few things are off-limits topically speaking; however, it’s best to avoid sending pitches on subjects Guardian US has covered in depth. As Reed puts it, “If we published 50 pieces on Lady Gaga’s new video on the site already, maybe we don’t need another one. A minute spent on Google will save you time.”

In other words, know before you pitch. But if you have an angle on a well-worn topic you’re sure The Guardian hasn’t covered, make sure the first thing you acknowledge in your pitch email is that you’ve done your research on the publication, and you’re bringing something new.

When pitching to arts editor Alex Needham, avoid pitches on big-name book and album releases or major exhibition openings; chances are, The Guardian has that covered. Focus instead on “stories only you could tell,” advises Reed, especially if you have “special access or a specific angle.”

For additional pitching dos and don’ts, check out Reed’s new Pitch Clinic on Medium, where she critiques the pitches she gets.

What publicists should pitch—and when: “A great new book [or book excerpt], movie or film releases,” are prime targets for pitches, notes Reed. But be sure to let editors know why they should care about it. Lead time varies, but leans to the short side—think days and weeks, rather than months.

Percentage of freelance content: About 20 percent to 25 percent
Percentage of freelance pitches accepted: About 15 percent

Recent freelance stories pitched and published: Writer Steven Thrasher’s piece on long-underappreciated photographer Arlene Gottfried worked well because Thrasher knew Gottfried, giving him unique access to the artist and some of her work, which ran in the article. The fact that the piece was published while an exhibit of Gottfried’s was running made it timely as well.

Needham was captivated by novelist Daniel José Older’s enthusiasm for his story on the growing place of writers of color in science fiction and fantasy worlds. “I was excited about this,” explains Needham, “because it was a Latino novelist who was really into science fiction who’d launched a petition asking the World Fantasy Awards to take down their bust of HP Lovecraft in protest at his racism. Just reading that sentence, you want to know more.”

Freelancer Michelle Dean wrote about podcast series Serial the month after its debut, when episode downloads numbered in the hundreds of thousands, rather than the tens of millions, as the series’ popularity exploded. But rather than merely commenting on the popularity of the series, Dean focused on a community of Redditors trying to solve the crime explored in the podcast in a story editors noted was both well-told and well-reported.

Etiquette: Send your pitch in the body of an email. “Do not, I repeat, do not,” warns Reed, “make us open a Word document, or cold call us—unless we have a working relationship with you.”

Reed subscribes to evergreen rules of pitching. “It’s the old industry saying: If an editor isn’t excited by your pitch after three lines, game over,” she says. Keep your pitch short, but use this brief space to grab the interests of editors and give them an idea of the tone of your pieces and potential word length. Include links to your best clips, and mention the publications you regularly work for. If you’d like, you can include your Twitter handle as well.

Lead time: Typically ranges from days to weeks; lead time for long-form pieces is usually a few months
Pay rate: Because payment varies according to section, length, type of submission and amount of original reporting, Reed encourages freelancers to work the details out with individual editors. Shorter blog posts generally go for about $150, while features and interviews begin at $250 or $300.
Payment schedule: Usually received within two to three weeks of invoice
Kill fee: “We try very hard not to kill articles,” notes Reed, “but it’s about 30 percent of the piece.”
Rights purchased: Three-month exclusive, after which rights are reverted to the author

Contact info:
The Guardian
536 Broadway
6th Floor
New York, New York, 10012
Twitter | Facebook
Email format: FirstName.LastName@theguardian.com

Direct pitches to:
For features, features editor Jessica Reed:
JESSICA dot REED at THEGUARDIAN dot COM
For culture, arts editor Alex Needham:
ALEX dot NEEDHAM at THEGUARDIAN dot COM
For opinion, US dot OPINION at THEGUARDIAN.COM

Topics:

Why You Should Be Guest Blogging, Especially If You’re Looking for Your Next Job

By Mediabistro Archives

3 min read • Published July 25, 2016

By Mediabistro Archives

3 min read • Published July 25, 2016

Archive: This article was originally published by Mediabistro around 2016. It is republished here as part of the Mediabistro archive.

We’ve written before about what it takes to become a full-time blogger. But if you’re looking to get some of the benefits of writing blog posts—without committing to it full time—by being a guest blogger on established sites.
Why would you want to write for someone else—and most likely for free? Guest blogging has undeniable benefits to writers and non-writers alike. Here are ways guest blogging can amp up your career—and your job search.

You’ll Become an Authority

Write a lot about a given topic—whether it’s your passion for crochet or your take on a given issue in your industry—helps establish you as an expert on it.
If you want to write more about the subject or get editors to think of you when making assignments on it, you’ll have a proven track record of published work on the matter.

You’ll Get Exposure

That old expression—it’s not what you know, it’s who you know—has never been truer.
Guest blogging exposes your work to readers who may have never seen it before—and gives you more chances to know more people. And you’ll be more likely to come to mind when someone in your newly expanded network is looking to fill a job.

You’ll Add to Your Portfolio

Getting clips can be a challenge when you’re first starting out, or when you’ve been working a while in a non-writing role.
A guest blog post is a valuable clip to add to your portfolio, and a great addition to your work for future editors or employers to discover when they do a Google search on you.

You’ll Drive Traffic to Your Site or Social Channels

OK, here’s a dirty little not-so-secret secret about guest blogging: Most guest bloggers don’t do the usually unpaid work for charity. They do it for the traffic their post will drive back to their site, thanks to backlinks to their website.
If you don’t have your own site—or you’re between jobs and don’t have an employer with a site—don’t worry. You can often have your writer bio link back to your Twitter or LinkedIn profile.

You’ll Get an Edge at Work

Here’s another guest blogging secret: Although your boss and other higher-ups at work probably know they should be doing guest blogging too for all the reasons mentioned above, if they hate to write, they’re probably dreading the prospect of having to start.
If you have guest blog posts that have already been published and offer to work with your boss to help her craft some of her own under her own byline, she’ll love you for it. And voila: You’ve just made yourself be even more indispensable as your company’s very own guest blog post ghostwriter.

You’ll Get an Edge in Your Job Search

Authority, exposure, online portfolio, an added skill that hiring managers love—all of the points we’ve discussed above will not only help you slay it at your current job, but they’re also factors that will help you land your next one.

Ready to Get Started?

There are plenty of opportunities for guest bloggers around the web; a simple Google search for your topic and “guest blog” is a completely valid stepping off point.
And if you can speak with authority about working in media, marketing or public relations, there’s a chance you can guest blog for Mediabistro.

Topics:

Pitch bbc travel

Writers for this freelancer-friendly travel site are encouraged to pitch 'unexpected or surprising' stories with a timely hook

3 min read • Originally published February 3, 2016 / Updated June 1, 2016

3 min read • Originally published February 3, 2016 / Updated June 1, 2016

Monthly unique visitors: 2 million
Special features: None

Background: BBC Travel is a feature section of BBC.com that is directed to readers who, in the words of contributing editor Ellie Cobb, “are passionate about travel, are curious about people and places, and want to engage with the world around them.”

Demographically, she says, “the target audience consists of people who are professional, affluent, intelligent and liberal. They are more concerned with the value of an experience than its price.”

In an effort to distinguish itself from the many competitors vying for clicks in the travel niche, the site underwent a refinement of its focus, which means it’s an ideal time for freelancers who are new to the site to pitch ideas.

Rather than publish listicles, top 10 roundups, destination guides or articles that are intensely destination-based, Cobb says she and her team are now interested in hearing from writers who can pitch and deliver “stories that are unexpected or surprising, have a timely ‘Why now?’ hook, and weave a strong, context-heavy narrative.”

What to pitch: All of the content on BBC Travel is written by freelancers, so that’s great news for writers. But if you’re hoping to break into this travel site, your pitch has to be on point. Editors are looking for pitches that have a strong, solid hook and will almost always subject a pitch to the “Why now?” question.

Cobb says prospective writers should submit a title (35 characters, maximum) and a short synopsis (50 to 100 words) briefly explaining the chosen topic/theme/angle, why it would work on the site and why it is relevant to the audience.

Concise pitches that are “immediately engaging” will avoid the editors’ slush pile, and mentioning availability of high-resolution photos will further distinguish a pitch, as editors are commissioning “photo-heavy” pieces, including photo essays that are formatted as slideshows.

Cobb encourages writers with multimedia skills to send queries, too. In particular, she’s eager to consider infographic pitches and videos.

What not to pitch: BBC Travel has several columns that are authored by regular contributors and are not open to pitches. These include Worldwide Weird, Eatimology, Living in, The Quora Column and Thirsty Explorer.

Cobb also advises against sending queries about “any ideas that are too general; pieces that are [roundups] of venues; ideas that are timely, but too late; stories about trends that have already peaked; and pitches that are stylistically not in keeping with the BBC’s audience” (for example, Top Youth Hostels of Europe).

What publicists should pitch: Publicists are welcome to pitch information about events and news. And it’s helpful to include a suggestion about how the announcement can be turned into a story, which would be assigned to a freelancer.

Percentage of freelance content published: 100 percent
Percentage of freelance pitches accepted: 20 percent

Freelance story pitched and published: “Detroit, beyond the bankruptcy” was a pitch that piqued editors’ interest because it addressed a timely subject (Detroit’s financial woes), while offering a fresh perspective with travel relevance. Built out into a photo slideshow with rich captions, the published piece provided lots of interesting information, both hard facts and anecdotes about compelling local characters.

Etiquette: Submit a concise query with links to clips.

Lead time: Varies depending on the type of story being proposed and whether it has a time-sensitive element.
Pay rate: The fee for a feature article, in U.S. currency, is $350 for a new writer and $450 for a seasoned writer. The amount will be confirmed upon commissioning. If editors run several of your images, they will pay an additional $100. The rate for a photo essay is $450.
Payment schedule: Invoice upon editor’s acceptance of completed draft
Kill fee: $100 flat rate
Rights purchased: All rights

Contact info:
BBC Travel
1120 Avenue of the Americas, 5th Floor
New York, NY 11106
bbc.com/travel
Twitter | Facebook
Email format: FirstName.LastName@bbc.com

Direct all pitches:
Follow this link to BBC Travel’s author brief page. At the bottom of the page is a form for writers to pitch stories.

Topics:

Pitch roads kingdoms

This award-winning travel site seeks strong writing with a compelling, journalistic style

4 min read • Originally published June 1, 2016 / Updated June 1, 2016

4 min read • Originally published June 1, 2016 / Updated June 1, 2016

Monthly unique visitors: 275,000
Special features: Roads & Kingdoms publishes long-form “Dispatched” features curated by editor at large Anthony Bourdain and has a weekly publishing partnership with Slate for foreign correspondence features. If an article fits within the thematic and content frameworks for this series, it will be published simultaneously on Roads & Kingdoms and Slate.

Background: There’s no shortage of publications, both print and online, focused on travel, but Roads & Kingdoms strives to set itself apart with a focus on in-depth reporting. Nathan Thornburgh founded the website with Matt Goulding in 2012 because the pair felt there was no existing publication that presented travel writing within a journalistic frame. Hence the tagline for Roads & Kingdoms: “Travel and journalism, together at last.”

“Our target readers are people who are already well traveled and are looking for stories from more distant places they don’t know yet,” says Thornburgh, who is now CEO of the site. “That, and they like good writing.”

Good writing has certainly been a hallmark of the site since its launch, and it wasn’t long before Roads & Kingdoms was recognized for the void it had filled in the travel vertical.

In 2013, it was awarded gold for best online travel magazine in the Society of American Travel Writers’ Lowell Thomas Travel Journalism Competition. The win was especially impressive considering the site was just over a year old and its competitors for the title included established websites of print publications.

Judges praised Roads & Kingdoms for publishing “compelling stories in words and pictures about topics most travel sites miss, from the lingering feeling of political violence and intimidation in Venezuela during election season, to the expert technique of an Azerbaijani butcher slaughtering sheep, to the ways Chechens are fastidious about keeping their shoes clean in a country with streets so often covered in mud.”

They concluded, “Roads & Kingdoms is a must-bookmark site for anyone interested in the things that make this world so complicated and worth discovering.”

What to pitch: Thornburgh and his editorial team are always on the hunt for writers who “tend to be very journalistic,” but who can cover a subject with “a strong first-person voice and immersive storytelling.”

Study the site carefully before pitching; you won’t find breaking travel news about new hotels or cruise ships here, nor will you find breathless destination stories trying to sell the reader on the superlative qualities of a place.

Instead, journalists with a deep understanding of a specific place and the dynamics that are affecting its politics, culture and economy are likely to land an assignment. A timely hook can seal the deal, but isn’t always required.

Editors accept pitches from freelancers as well as generate ideas in house and assign them to writers with whom they have established relationships.

General features run 1,000 to 2,000 words, and writers who can pair their text with stellar, high-resolution photos are preferred.

“Dispatched” features can run up to 7,000 words, and photography is assigned. “Breakfast” and “5 O’Clock Somewhere” pieces run from 250 to 500 words.

What not to pitch: The entire site is open to freelancers.

What publicists should pitch: Roads & Kingdoms does not respond to pitches from publicists, as editors have “never received a publicist’s pitch that has turned into a story for the site,” says Thornburgh.

Percentage of freelance content published: 70 percent
Percentage of freelance pitches accepted: 10 percent

Recent freelance stories pitched and published: Editors look for pitches that address many layers to a story. This story, pitched by Anuradha Sengupta, combined pressing issues related to global warming, gave insight on a little-known destination and included a great narrative centered around relevant characters.

This feature, pitched by Jelena Prtoric, explored how a Croatian shoe company survived its Soviet past and a deeply uncool reputation through a current day visit of the factory and in-depth historical research.

Editors also accepted this pitch about hair-transplant tourism by Lorena Rios because it addressed an unexpected movement of people, a national expertise and the social expectations of what it means to be a man.

Etiquette: Send an email with a concise pitch (no completed pieces) and indicate why you’re the best person to report the story you’re proposing. Do not include attachments. Links to clips are appreciated.

Lead time: At least three days for time-sensitive stories. Otherwise, there is no particular lead time
Pay rate: Features start at $150. Rates are higher for “Dispatched” pieces. “Breakfast” and “5 O’Clock Somewhere” pieces are $25.
Payment schedule: Invoice on publication. Payment generally received within a week
Kill fee: $40
Rights purchased: Digital rights with window of exclusivity

Contact info:
Roads & Kingdoms
68 Jay St #422
Brooklyn, NY 11201
roadsandkingdoms.com
Twitter | Facebook

Direct all pitches to:
PITCHES at ROADSANDKINGDOMS dot COM

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View the Pacific Standard masthead

How To Pitch: Pacific Standard

This publication welcomes 'dial-turning stories' on economics, education, the environment and social justice

By Vanessa Richardson

4 min read • Originally published June 1, 2016 / Updated June 1, 2016

By Vanessa Richardson

4 min read • Originally published June 1, 2016 / Updated June 1, 2016

Circulation: 100,000
Frequency: Six issues per year

Background: Launched in April 2008 by the Santa Barbara–based Miller-McCune Center for Research, Media and Public Policy, Miller-McCune was positioned as a high-end research publication that proposed practical solutions to social, economic and political issues.

Former editor Maria Streshinsky, previously managing editor of The Atlantic, came on board in 2011 and decided to refocus the publication, starting with the name change to Pacific Standard.

“In some ways, we’re going back to the core of what the magazine was started for: a conduit to academia, research and primary source investigation,” she explained in July 2013.

Pacific Standard publications include a bimonthly print magazine and a daily website—PSMag.com—that put social and behavioral science research into lively, intelligent conversation with the news and the national debate.

“We are a great home for writers who can tell deeply reported, gripping tales about issues in the public interest while plumbing the intellectual, theoretical and empirical context that surrounds them,” explains Pacific Standard’s writers’ guidelines.

Topics that are of most interest cover economics, education, the environment and social justice. The goal for writers pitching the Pacific Standard is to “think about how society works—and about how it could be working better,” according to the guidelines.

In other words, the magazine, both in print and online, tackles the nation’s biggest social, political and cultural issues with an eye to what shapes human behavior: the psychological tendencies, powerful institutions, hidebound customs and electrifying ideas that propel our modern life.

The pub’s target audience reads the Economist, The Atlantic, Mother Jones and Wired, but Pacific Standard sets itself apart by focusing on the behavioral and social sciences.

What to pitch: A large amount of Pacific Standard’s content is written by freelancers, and editors seek dial-turning stories that will change people’s preconceived notions.

Equally crucial are writers who can tell those stories in an effective, gripping manner. If you have good feature writing experience, bring it on, but editors say short, tight FOB pieces, essays and profiles (all averaging a 1,200-word count) are a good way to break in.

If you are pitching a story on new research or the latest study, make sure you include more than the lead researcher as the person to interview in order to bring a larger context to the topic. Editors want research and ideas to be wedded to storytelling that makes them relevant.

What not to pitch: The natural sciences aren’t really Pacific Standard’s thing, except when they concern questions of human behavior.

For more information on what to pitch and what not to pitch, read Pacific Standard’s submission guidelines.

Online opportunities: There are lots more writing opportunities on Pacific Standard’s website, which publishes an average of six to 10 original pieces every weekday and continues to grow.

Staffers are open to any ideas (interviews, profiles, features, recurring series) that fit into the magazine’s mission of covering the latest research and big ideas from the behavioral and social sciences, but prefer those with a strong news hook that can contribute to the current discussion.

Percentage of freelance content published: 75 percent
Percentage of freelance pitches accepted: Varies

Freelance stories pitched and published: “It’s Easy to Make People Help Others” was written by freelance science writer Nathan Collins. The trick to make people help others, Collins explains, citing a new study, is to make people feel like they’re part of a low social-status group.

“Did the Ground Game Matter in the Colorado Senate Race?”, by writer and political scientist Seth Masket, raises questions about how tactics used in the Bannock Street Project, a locally focused get-out-the-vote (GOTV) effort pioneered by the Obama campaign in 2008, could hold up in future political contests.

In “The Scariest Explanation for America’s Vast Prison Population,” freelancer Jakub Wrzesniewski writes that the U.S. justice and sentencing system is mass-producing inmates, with little sensitivity to whether prison is the appropriate retribution, let alone effective rehabilitation.

Etiquette: Your pitch should be three to four paragraphs, followed by what and who you’ve written for. Send a couple of good clips that haven’t been heavily edited. Although editors are very open to receiving pitches and do read any that come through their inboxes, please don’t just send your clips with the note, “I’d love to write for you.”

Lead time: Six months for print; much sooner for the website
Pay rate: $1 to $1.50 a word for the print pub, depending on the article and the writer’s experience; varies for the website
Payment schedule: On acceptance
Kill fee: 25 percent
Rights purchased: 120 days exclusive rights, then shared rights after that

Contact info:
Pacific Standard
801 Garden Street, Suite 101
Santa Barbara, California, 93101
(805) 899-8620
psmag.com
Twitter | Facebook
Email format: FirstInitialLastName@psmag.com

Direct all pitches to:
For print, EDITOR at PSMAG dot COM
For online, news editor Max Ufberg: MUFBERG at PSMAG dot COM

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