Amy Astley on Building Teen Vogue From the Ground Up

Pitches That Worked: Turning a Small News Story Into a Men’s Journal Feature

We map a pitch from a news-based nugget to a 6,000-word epic

7 min read • Originally published July 12, 2010 / Updated March 19, 2026

7 min read • Originally published July 12, 2010 / Updated March 19, 2026

When a small local news item captivated writer Justin Heckert, he knew there was a bigger story to be told. “I read a small, buried article on CNN.com about this extraordinary event in which a dad and his autistic son were swept out to sea,” says Heckert. “They survived, treading water, after they’d been separated during the night. It seemed perfect for an ambitious narrative story.” Heckert pitched the idea to a few outlets, including Esquire and The New Yorker, but it never got off the ground. A few months later, he got a serendipitous email from Terrance Noland, executive editor at Men’s Journal, whom he had met earlier at an industry event, asking if Heckert had any story ideas. “I never geared the pitch any differently for any publication I sent it to,” says Heckert. “I was certain, initially, that it was just a story about a father and son.” Here, Heckert and Noland explain how his story idea surfaced as a 6,000 word feature, Lost in the Waves, in the November 2009 issue of Men’s Journal.

What the Writer Did

Justin Heckert:

I initially pitched the story to an editor at Esquire a few months before I got that initial email from Terry. I’d written a few things for the editor before, but never a feature. The editor loved the Walt-and-Christopher idea when I sent it to him in the winter of 2008. I had also called Walt and told him I was a writer interested in talking about what happened to him — something I thought would help the pitch, and help me to sell the idea to an editor, if they already knew Walt was on board. The Esquire editor was going to try and get it green-lit, and he said he’d get back to me. I badgered him for a little while, never hearing much back, and so I had to move on. About five months had gone by since I first pitched it, and that’s when I heard from Terry, which was the journalistic equivalent of a godsend. Terry and I were judging the same category in the City and Regional Magazine Association awards last year [2009], and he sent me an email and asked if I had any story ideas. So it wasn’t a normal circumstance of me reaching out to Terry and trying to get him to pay attention to it. He was already paying attention.

At first I sent him a few sentences about the idea. When he said he was really interested in this particular idea (which turned out to be “Lost in the Waves”), I sent him the pitch. The pitch wasn’t that long, and it wasn’t that masterful, and it wasn’t something I’d worked to polish like I was writing a shorter version of the story. I hate writing long pitches — I just wanted to get the idea out there in a few paragraphs.

The Pitch

From: Justin Heckert
To: Terrance NolandThe father and son drifted out into the ocean.(1) They were treading water, slipping below the surface and fighting for air. Walter and Chris Marino were pulled out to sea at 7:30 p.m. on a Saturday night in early September by the outgoing tide at Ponce de Leon Inlet, in Florida, where they had been swimming together. As the sun dropped below the surface, and as the light dimmed from the water, Walter, 47, the father, finally let go of his son so they wouldn’t drag each other under. (2)As the night went on, they drifted farther apart, miles from shore. Walter tried to keep Chris, 12, calm, yelling out phrases from Disney movies like Toy Story. “To infinity!” he would shout, and Chris, who is autistic and doesn’t say much, would yell back, “And beyond!” (3) After several more hours, Walter heard only silence. Then he was alone in the complete black of the sky and water, treading for his life.When Walter no longer got a reply from his son, he yelled some more, and then was convinced Chris was gone. And so that whole night, in the dark, he thought about his daughter. He could not let his daughter lose her brother and her father on the same day. He forced his legs to move.

When the coast guard found him the next morning, after he’d treaded water alone for 15 hours, Walter was asked if he’d wanted to go to a hospital or stay on the boat and continue the search for his son. “They asked me if I wanted to be above or below,” he told a Florida newspaper, “And I chose to be below because I knew Christopher, in my mind — that Christopher was gone and I didn’t want to see, you know, my son floating facedown.”(4)

“So the Coast Guard stops the boat and says, ‘Mr. Marino, we need you to come up,’ which I thought was code for ‘We need you to come up and identify the body.’ And that was my green mile. Those three steps — I mean, I just needed help to get up to the top to see. And when I got up there, they pointed to the helicopter and said, ‘See that helicopter over there? That has your son, and he’s fine.'”

Which is the other part of this story. Chris survived, too, miles away from his father, treading as he’d been taught in the pool by Walter. Three men in a fishing boat found him 9 miles from the coast, head bobbing, legs kicking. (Both father and son had only severe hypothermia, and were stung several times by jellyfish.)

Walter had taught his son how to swim at the local YMCA, while he was growing up, had taught him how to float, too, and Chris had remembered everything he was taught. Chris, his dad says, has always loved to float and tread. And those things saved his life. (5)

I think this is a story of a richly compelling narrative of the ordeal that both of them experienced in the ocean, a story of epic survival (6); I also think it’s really a story about a father and son. (7)

Why the Editor Bit

Terrance Noland, executive editor, Men’s Journal

I was familiar with Justin’s work from judging the City and Regional Magazine Association Awards. He’d won “writer of the year” when I was judging that category, so I knew he was talented and I knew what he was capable of producing. Then we connected by email when he was a co-judge in a later year of that same contest. Out of that interaction I actually invited him to pitch me ideas, asked him if he had anything special percolating, and he sent me this pitch. No doubt my familiarity with his work had a big influence on how receptive I was. It didn’t matter to me whether those were stories from a national magazine; when I look at clips I’m just looking to see if someone can flat-out write — if there is a real voice there, if he or she can tell a story, and if there’s some spark there or some risk-taking in the writing that elevates their pieces beyond the standard fare.

We didn’t know how just how layered the piece would become, but there was at least the whiff of possibility, and sometimes that’s enough to take a leap. It ran as a major feature in the magazine. I think I assigned it at 3,500 words, and it wound up running more like 6,000, which says a lot about Justin. It turned out to be an amazing story, one that evolved as Justin reported it. The core survival tale remained, but all the complex family issues — the difficulty of raising an autistic son and the split between parents on how best to do that, and the pivotal moment/decision at sea when the father has to push the son away — all that was like a gift from the gods. But I credit Justin for seeing those things for what they were and for fully utilizing them in the piece. My experience with him on this piece definitely made me want to use him again, and in fact right now he’s looking into another possible feature for us.

Key Components of the Pitch

(1) Use a lead that grabs the editor’s attention. Back to pitch

(2) The writer concisely introduces the characters, date, time, location, and conflict. Back to pitch

(3) Including dialogue brings the reader into the moment. Back to pitch

(4) By quoting a newspaper, the writer demonstrates he has researched the subject. Back to pitch

(5) The writer is able to convey the survival tale succinctly. “Too many writers will send a long sprawl of an idea, and it’s clear they don’t have a good bead on the story,” says Noland. “They are just throwing a bunch of information at me, hoping something will stick. That gives me no confidence in the writer. I like to feel that the writer has a good sense of the story and what it could be.” Back to pitch

(6) Noland says, “I also like to see some conviction, some passion from them. But you can’t fake that passion. If you don’t really believe in a story, don’t push it as if you do. That will burn you down the line.” Back to pitch

(7) In your pitch, be sure to indicate why this particular story will resonate with the publication’s audience. “While there was an obvious compelling survival tale at the core, it hinted there was something more going on — that there was a father and son element that would resonate with readers and elevate the piece beyond merely an adventure tale,” Noland says. “As an editor, I’m always looking for those extra layers that will give a piece some complexity and depth.” Back to pitch

Topics:

Go Freelance, Journalism Advice, Pitches That Worked

Pitches That Worked: From Casual Conversation to American Way Feature

Clear vision, unique premise, and smart research got this writer in

7 min read • Originally published August 31, 2010 / Updated March 19, 2026

7 min read • Originally published August 31, 2010 / Updated March 19, 2026

A good writer can recognize a glint of a story in almost any situation. When this freelance writer discovered an unusual character in passing, he pursued the nugget to a full-fledged narrative pitch. Here, the writer and editor chronicle how a casual convo between friends led to a 2,000-word feature in American Way‘s July 15, 2009, issue — not to mention an ASJA award and repeat gigs with the pub.

What the Writer Did

Steven Beschloss: I’m always looking for unexpected profile subjects — especially stories with strong twists and turns where people changed their lives to follow their passion. So when a friend mentioned in passing that a Sonoma County resort has a croquet pro, I stopped her and asked lots of questions. I learned that Jerry Stark is a former autoworker who quit the GM assembly line to play the unlikely game of croquet, that he’s one of the best in the world and a hall of famer on a pro circuit that I never even knew existed. Once I discovered that — and saw a picture of him clad in whites with a long red beard — I knew I had a story.

Then it was a matter of finding a magazine that would “get” the story. I was looking for a magazine for travel stories and profiles, so I was looking at a lot of in-flight magazines. I knew American Way ran longer profiles, so I picked that one. I send all my pitches through email, especially to editors I don’t know. Actually, mediabistro.com’s How To Pitch column on American Way helped me with a lot of details. I knew [Chris] was the one to contact since he was the one the article interviewed.

I pitched to him on July 29th, and I didn’t hear back for 10 days. (I usually wait about a week to ten days after I pitch to a publication to hear back.) So I re-sent it just to make sure they got it on August 6th. I assumed it wouldn’t be happening, since I didn’t hear back for two and a half months. But then, Chris emailed me back saying, ‘We’d like you to do this.’

By that time I had already started looking for other magazines. I never doubted that this story was a bad story; it just needed to find the right home. I pitched to Reader’s Digest and a couple more in-flight magazines. Not much changed in the form of the pitches — it felt like the pitch itself was Jerry’s story, and it didn’t need to be changed. I only pitched to magazines that I felt would take it the way I had written it.

Our agreement was a 2,000 word piece and most of the piece was a focus on Jerry’s narrative on his story. As we started, Chris wanted a little bit more of Jerry (the profile subject)’s voice through quotes. He also wanted the lead of the story to be more effective. Otherwise, not much was changed. The pitch was pretty clear from the beginning what the story would be about and with Chris, he was very good with describing what he wanted. Most editors aren’t as clear about what they want, but Chris was great with telling me how he envisioned it. American Way has gone on to ask me about other articles. The result of this first-time pitch ended up winning a writing award from ASJA, the American Society of Journalists and Authors. A happy ending.

The Pitch

From: Steven Beschloss
To: Chris WesslingFor your consideration:Playing Croquet, Seriously:
When Jerry Stark lost his auto assembly plant job in Kansas City (1), he donned his whites and joined the professional croquet circuit. His friends thought he was crazy, and not just because there wasn’t money in it. Come on! Isn’t croquet a game kids play in lumpy backyards with chipped balls and bent wire wickets? (2)

Today, Stark is having the last laugh (3) — and the time of this life. As the resident pro at Meadowood Resort in Napa Valley for nearly two decades (which also produces wine), this croquet world champion and national hall of famer teaches guests the art, ethics and sheer force needed to play and enjoy croquet. A big man with an orange handlebar mustache (4), Stark joins them in his finest whites on a pristine, full-sized lawn (35 X 28 yards), one of the nation’s best venues. I propose joining Stark there (5) to tell the improbable and amusing story of one man’s unlikely journey and share with readers some surprising facts about a game that they thought they knew. (6)

By way of background (7), for the last three years I worked as Managing Executive Editor and occasional writer at The Ritz-Carlton magazine (links to two of my cover features from Moscow and London are below) and served as the founding editor of 6 magazine, a new luxury lifestyle magazine launching this fall. I have contributed to dozens of publications, including The New York Times, The New Republic, The San Francisco Chronicle, TV Guide and The Village Voice.

I hope this idea intrigues. I’d be glad to send you others.(8)

Best Regards,
Steven Beschloss
[Phone number redacted]
An award-winning writer, editor and filmmaker with more than 20 years of experience producing content for international audiences, Steven has a passion for travel and a deep commitment to excellence in art, design, style and fine writing. A former editor of The Ritz-Carlton magazine, Steven has written for dozens of publications, including The New York Times, The New Republic, The Village Voice, TV Guide and The Wall Street Journal. A graduate of Haverford College and the master’s program of Northwestern’s Medill School of Journalism, Steven’s film work has been seen in more than 20 countries and translated into more than a dozen languages.

MOSCOW feature: (9)
http://www.mediabistro.com/portfolios/samples_files/ouXLQYDZCEXrr_KXxVeDHfuTd.pdf

LONDON feature:
http://www.mediabistro.com/portfolios/samples_files/tiyUjU3HYiS2Z9yGk9bmLHgKZ.pdf

Why the Editor Bit

Chris Wessling, senior editor, American Way: Steven’s pitch was our initial introduction. The fact that Steven had written for a number of major publications was a plus, as it helped establish his credentials. But beyond that, I liked how he crafted his pitch as much as the angle of the story itself. I don’t have set-in-stone requirements for new writers — a lengthy list of clips from well-known publications is a help, but it’s not a must-have. A great pitch is really what catches my eye and holds my interest.

Key Components of the PitchSteven’s pitch was spot-on in a number of respects. It was brief and clear. If a writer can’t clearly explain what he/she wants to write about in a graf or two (and make it compelling), then I start to wonder if the writer really has a strong vision on how a 1,000- or 2,000-word story will come together. It was already written like the lede of an actual story, so it was easy to see that Steven understood the writing style we prefer at American Way. It had the “who knew?” factor — who knew there were pro croquet players. It had the “take this job and shove it” factor — a fantasy that millions of people have every day. It had the “fish out of water” factor — auto factory employee transforms himself from a blue-collar worker to a whites-wearing croquet player. It had the “perseverance and dreams do come true” factor — Jerry Stark pursued his unlikely dream despite the doubters, eventually becoming a hall of famer.

(1) This attention-grabbing lead draws you in, and immediately relates to the reader. Said Wessling, “It had the ‘take this job and shove it factor — a fantasy that millions of people have every day.” Back to pitch

(2) This “who knew?” element adds intrigue to the story idea. Back to pitch

(3) Not only has the writer approached his pitch the same way he might approach the story (“It was easy to see that Steven understood the writing style we prefer,” said Wessing), he introduces a character transformation to the narrative. Back to pitch

(4) Incorporating telling details, like the subject’s orange handlebar mustache and pristine outfit, help the editor picture the scene. Even better, they prove the writer’s interest in the story idea, and they show the writer has done some research. Back to pitch

(5) The writer’s suggestion indicates he would have access to the subject and has thought about the reporting process. Back to pitch

(6) A direct reference to the takeaway for the magazine’s readers is another selling point for an editor evaluating whether a story pitch is a fit. But remember — it only works if it would genuinely resonate with the magazine’s audience. Back to pitch

(7) Always demonstrate why you’re the writer for the job — provide a short bio highlighting relevant experience. Back to pitch

(8) By signing off this way, the writer leaves room for discussion: Even if the editor should pass on this idea, the writer offers to suggest others in the future. Back to pitch

(9) Including links to clips, rather than attachments, is frequently the preference of editors. Try to limit your selection to the most relevant, recent stories. Back to pitch

Topics:

Go Freelance, Journalism Advice, Pitches That Worked

Job Search

How to Research a Potential Employer Before You Apply

It's not what you know about a company you're interviewing with—but how much

By Kristen Fischer

Kristen Fischer is a freelance writer, journalist, and copywriter with over 20 years of experience, currently serving as a health writer for AARP with previous staff roles at WebMD and WW. Her work has appeared in Prevention, Healthline, Woman's Day, Parade, and Writer's Digest, and she is the author of four books.

4 min read • Originally published December 16, 2011 / Updated March 19, 2026

By Kristen Fischer

4 min read • Originally published December 16, 2011 / Updated March 19, 2026

After scouring our job board you found an awesome potential lead. Now there’s nothing to do but send in your standard resume and cover letter and hit apply. But wait!

With the high amount of quality candidates competing for gigs, you’ll need to up your game in order to get noticed. And if there’s one surefire way of doing that, it’s showing you really know the company via your cover, resume and—fingers crossed—your subsequent interview.

Even if you’re not looking to jump ship just yet, researching companies in your field is smart as an ongoing practice.

“The more you know about your industry and the companies in it, the better positioned you’ll be to grow your career when you’re ready to make a move,” says Alison Doyle, the job search expert for TheBalance.com.

Here are some solid tips on getting started.

Comb Through the Company Site

The most logical step to get a feel for a company is to visit its website, where you can find details about its mission, projects, services and employees.

Dawn S. Bugni, a master resume writer based in North Carolina, says reading a company’s website can also help you get familiar with their corporate speak. For example, if a company refers to “customer service” as “client relations,” you can then change one or two references in your resume or cover letter to their language.

“Speaking the language of the rest of the company transmits a feeling of subliminal affiliation or a sense that you already belong,” Bugni says. “That sense of belonging makes initial introductions and contacts more comfortable all around.”

A few other things to research on the company site: the number of years the company’s been in business, the different office locations, how many people the company employs and any notable clients.

Research Outside Sources

There are a variety of ways to learn about a company. Doyle recommends searching Google news results to see if the company shows up. This could bring up details about a corporate event—or a recent complaint.

To get the inside scoop on salary, interview questions, company info and reviews, be sure to swing by Glassdoor. Posts are anonymous, but offer a valuable way to learn more about what a company is like.

You may also want to set up a Google Alert using the company’s name (or your industry) to find out what’s new. This will help you keep on top of your knowledge of the company, and your field in general. Just make the alert name as specific as possible so you don’t get overwhelmed with results.

“Those mentions can be of great importance or some obscure detail giving insight into culture and mission,” says Bugni. “The obscure also makes for great interview fodder, ‘I saw your CEO won XYZ Golf Tournament for ABC Charity. I volunteered with ABC back in high school. What a small world!'” Again, a great conversation piece as long as the news is positive.

Follow Their Socials

Checking out a company’s social channels can give you a good feel for the company’s culture, the people who work there and news about the company and its industry.

Doyle notes with LinkedIn you can view first- and second-degree connections while also researching the company. Bugni suggests looking at specific employee profiles, because you can browse their memberships and affiliations, which will give you another layer for connecting.

When it comes to the company’s Facebook page, Doyle says, “It may give you a more casual perspective than LinkedIn or the corporate website.” Here, you can learn about company culture, events and even business reviews.

And don’t forget about Twitter: Monitoring their tweets will give you an idea of the information they value, trends they’re following and the way they present themselves. Pro tip: It would never hurt to like or re-tweet one of their posts around the time you apply.

Analyze the Competition

Another great way to learn about a company is to consider it in a context with its competitors. Employ the same tactics outlined above, and check out sites like Crunchbase and Hoovers, to find out the latest news and information about similar companies in your field. “This will help you hone in on what’s unique and different about this story relative to what’s already being discussed in the market,” says David Capece, founder and CEO of the digital agency Sparxoo.

Knowing about your industry, as well as a company, is an invaluable asset. Even if you can’t spout off statistics on a company’s earnings or list names of their board of directors, staying in touch with your field—and knowing where you want to go in it—is a true pillar of advancing your career.

Topics:

Get Hired, Job Search

Pitches That Worked: How Persistence Broke Through at The Economist

How an email intro and a sharp idea positioned this writer as a trusted contributor

8 min read • Originally published March 19, 2012 / Updated March 19, 2026

8 min read • Originally published March 19, 2012 / Updated March 19, 2026

It’s a hazard for any freelancer: the query email that seems to land in a black hole. Writer Cyrus Farivar wanted in to The Economist, so after his introductory email got devoured by the editor’s spam filter, he didn’t settle for radio silence. A follow-up introduction made it past the virtual gatekeeper, and his pitches got his stories into this respected magazine. Our breakdown of his introductory note and a subsequent, story-landing query walks you through what about his approach worked, so you can enjoy similar success.

What the Writer Did

Cyrus Farivar: “If I’m trying to write for a publication I’ve never written before, and it’s somewhere like The Economist and they don’t know me, I try to figure out, who do I know who works there, or who’s written for them? I try to establish a rapport (via email) if I can, and see what they’re looking for.

I got the email address of Tom Standage (business editor, The Economist) from my friend [redacted]. I emailed Tom probably four or five times between August 2005 and December 2005.

The (Introductory) Pitch

From: Cyrus Farivar
To: Tom Standage
Date: November 18, 2005Dear Mr. Standage,(1)My name is Cyrus Farivar and I’m a friend of [REDACTED]. (2) We write for a lot of the same publications including The New York Times and Macworld. (3) I’ve also written for Slate, Wired, Wired News and others. (4)He said that I should contact you about possibly freelancing for the Technology Quarterly section (5) — so, I’m interested.

Is there anything in particular that you feel like is lacking in your coverage right now? (6) Anything that you’d like to see? (7)

I’d love to talk to you further about this. (8)

Thanks,
Cyrus

What the Writer Did Next

Cyrus Farivar: There were any number of reasons why [Tom] didn’t respond — I didn’t take it personally. After he didn’t respond, I asked [our mutual contact] to bug him for me, and lo, Tom did respond with an assignment. From then on, I pitched a few other things (some were taken, some weren’t). I pitched [the “exergaming” piece] on December 15, 2006 by email. It ran on March 8, 2007.

The (Story) Pitch

From: Cyrus Farivar
To: Tom Standage
Date: December 15, 2006Ok, I’ll keep pitching until one of ’em sticks. 😉(9)The story is about a new teen-only gym (it restricts membership to kids 13-18), called Overtime Fitness, that’s based out here in Mountain View, California — less than a mile from Google headquarters. (10) The gym, which was founded by Patrick Ferrell (of GamePro Publishing, and who started the E3 tradeshow in LA), (11) incorporates elements of videogaming into a more traditional workout setting. (12) While in one corner of the gym there is boxing equipment with gloves and a punching bag, there is also a virtual boxing video game that requires the player to shadow box at a screen. (13) Indeed, all of the five video game setups in the gym have some physical aspect to them, and Ferrell views them as bait in order to draw the generation reared on a steady diet of Xbox and Playstation into the gym and working out. (14)

Overtime Fitness is the emergent property of the marriage of athletics and video games. (15) Previously, these two emerged with the Nintendo Power Pad in the 1980s, and more recently with Dance Dance Revolution (the gym has one of its competitors, In the Groove 2) — which have been used around the country for weight-loss and physical education programs over the last few years. (16) Further, this would dovetail nicely with the über-hot video game system of the year, the Nintendo Wii. (17) The Wii has a controller (Wiimote) that will allow for physical motion into a more traditional stationary game — allowing the gamer to swing the controller around to control a battle ax, and so forth. I wouldn’t be surprised if Overtime Fitness brings in a Wii in the future.

In short, the piece would be an analysis of how today, we’ve ended up with a new gym that features video games (albeit physically-oriented ones), and a new video game system that now wants to incorporate movement into its titles. (18)

-C (19)

Why the Editor Bit

Tom Standage: What seems to have happened is that Cyrus’s direct approach to me never arrived (it probably fell victim to a spam filter). I am very strict about replying to pitch emails so, had his message arrived, I would have answered it. But [a subsequent] message, mentioning [our mutual contact] did get to me. I’ve known [the contact] for some time and I trust his judgment, but I also Googled Cyrus and saw that he had done a very good piece on the “$100 laptop” for Slate. That meant I was inclined to take him seriously. Slate is an excellent publication, similar to The Economist in many ways, so if he can write for them, he can write for us. Writing for a peer publication (in the case of the Technology Quarterly section [TQ], that means Tech Review, Wired, Business 2.0, etc.) is the single most important qualification I’m looking for.

Cyrus pitched me some more ideas, and did a piece on GPS-assisted tourism for me. Then, in December 2006, he pitched the “exergaming” piece. The Wii had just come out, and I had
bought one on the launch day, and everyone was raving about it. I was planning the March TQ and wanted a way to write about it that would also move the story on from the Wii, which by that stage would be three months old. So his exergaming pitch was ideal, and I said “yes” to it right away.

I liked his exergaming idea because it broadened the story beyond the Wii mania. The story that ran was pretty much as he pitched it, though we threw in a couple of things that happened after the pitch and before publication. What I liked about the pitch was that he was offering a story that would also serve as a brief history of exergaming, going right back to the 1980s and the Nintendo Power Glove, etc., so it had a retro appeal, as well. I am a big fan of historical analogy, and of placing modern developments in historical context. By including the history of these kinds of games we were doing more than just saying “gee, whiz” about the Wii. We were showing that it is the latest in a long line of products. This is what we try to do at The Economist: to cover things in a comprehensive way, so that even if you know nothing about the subject the relevant background material is in the piece.

In general, I don’t mind being emailed by stringers. The barrier to entry for new stringers is low; I read every pitch and reply to every one, and I have many, many stringers with whom I have never even spoken on the phone — I do it all by email. So, it’s not hard to get my attention — you just have to have a good idea. The main thing I am looking for (apart from a good idea) is evidence that the stringer will be able to deliver something printable, and the best evidence for that is previous work for Wired, Slate, New Scientist, Tech Review, BBC, etc. Cyrus had all the right experience.

Key Components of the Pitch

(1) If you’re emailing to introduce yourself to an editor, put a professional foot forward with a formal salutation. Back to pitch

(2) Don’t bury a personal connection — let it work for you by citing it up front. Back to pitch

(3) Mentioning that you and your mutual contact write for many of the same outlets is a graceful way of introducing your credentials, and associating yourself with reliability. Back to pitch

(4) In a preliminary email sans story idea, the onus is on you to sell yourself and what you offer even harder, so don’t hesitate to cite all your relevant credentials. Back to pitch

(5) Stipulating the specific section this editor handles shows that the writer has done his homework and isn’t pitching blind. Back to pitch

(6) Position yourself as a valuable resource by offering to fill holes in the editor’s area of coverage. Back to pitch

(7) Editors love reliable writers to whom they can assign ideas generated in-house, for which the writer is clearly volunteering. Back to pitch

(8) Enthusiasm’s okay, provided you’re succinct. Back to pitch

(9) You can be a talented freelancer with great story ideas and still experience rejection from an editor with whom you’ve established a relationship — here, the writer demonstrates good humor by not taking previous ‘No’s personally. Back to pitch

(10) In classic news lede style, the writer concisely maps out his idea’s “what” and “where.” Back to pitch

(11) In describing the “who” behind his subject, the writer shows he’s done his research by offering background and context about the gym owner. Providing background info germane to your topic positions you as an authority on your subject. Back to pitch

(12) Contrast is essential to an addictively readable piece, and the writer neatly contrasts the newer medium of gaming with the “traditional workout setting.” Back to pitch

(13) Now that the stage has been set with the story’s essential info and a bit of tension, the writer includes descriptive detail that his unusual subject has set the reader up to want. Back to pitch

(14) The notion of the gym owner luring young customers with video game “bait” is intriguing, while the word choice of “steady diet” complements the writer’s subject of health and fitness. The writer shows here that he can engage in wordplay without being heavy-handed, a balance editors want their writers to strike in any extended article. Back to pitch

(15) Dubbing his subject “emergent” is key here — it reinforces that the relevance of the writer’s topic is on the rise, and merits the attention of an article. Proving that your story idea’s ahead of the curve will inspire an editor to assign it so his or her outlet can be among the first to cover it. Back to pitch

(16) Weaving a historical element into the piece places the writer’s idea in a larger context, reinforcing the need for his story. Back to pitch

(17) Mentioning the Wii this late in his query serves the writer well, proving that his piece isn’t a straightforward writeup about the system, but one that skillfully integrates the new technology into a larger idea through the lesser-known subject of the exergaming gym. Back to pitch

(18) Summing up the query in a sentence is a good way to close, leaving the editor with a clear sense of the story. Back to pitch

(19) Now that the writer’s pitching an editor with whom he’s got a relationship, an informal signoff is fine. Back to pitch

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Pitches That Worked: The Query Letter That Led to 70+ Newsday Assignments

A laser-sharp query leads its writer to more than 70 bylines

6 min read • Originally published March 19, 2012 / Updated March 19, 2026

6 min read • Originally published March 19, 2012 / Updated March 19, 2026

Welcome to Pitches That Worked, a new feature for AG members that takes an actual query letter that landed its writer an assignment, and breaks down just what made it successful.

In our second installment, we illustrate (with numbered, hyperlinked comments) how freelancer Alan Krawitz’s laser-sharp pitch led to a string of 70+ Newsday assignments over five years, even though the story he proposed in the original query shown here had already been assigned!

What the Writer Did

Alan Krawitz: “While [this] pitch didn’t result in that particular piece being assigned, since a staff writer was already researching the story, it served to open a dialogue with Regina Holmes, then editor of Newsday‘s Queens Neighborhoods section. I followed up that pitch with a story about pollution in Jamaica Bay and that became my very first story for NY Newsday.

“I think, basically, the pitch demonstrated to Regina that I was capable and qualified to handle future assignments for the paper. Specifically, even though she didn’t go with this particular story idea, she thought it was solid and appropriate for the Queens Neighborhoods section. She also liked the way the pitch was written using a compelling lead, backed by just enough facts and details (so as not to give away too much of your story).

“Further, she said that establishing my credibility was important as well. Even though my experience was mainly with local newspapers at the time, I established myself as uniquely qualified to write the story. These credentials included my status as a resident of Queens, familiarity with the subject matter (graffiti), as well as clearly identifying sources within the police dept. and the community.

In short, by delivering an on-target, well-written pitch; I was able to make the editor very receptive to future pitches, and that is what led to my standing relationship with the paper. Today, I still write for Newsday, among many other local and regional publications and Web sites.”

The Pitch

Ms. Diane Davis, Assistant City Editor
Newsday
80-02 Kew Gardens Road, 4th Floor
Kew Gardens, NY 11415-3600
Re: Queens NeighborhoodsDear Ms. Davis:For years (1), graffiti vandals have been identifying themselves to each other by signing their “work” with a tag or street signature, on the sides of walls, storefronts, trains, bus shelters and even portable toilets throughout Queens. (2)Now, thanks to a computer database and some tech-savvy police officers (3), graffiti vandals are receiving another type of recognition — this time, from the New York City Police Department.The recent arrest of Mario Nardello (4), an 18-year-old graffiti vandal from Douglaston Manor, is a good illustration of how police are now “tagging” the “taggers.” By storing graffiti vandals’ tags in a central computer, police can more easily track and ultimately apprehend some of the borough’s busiest graffiti vandals. (5)Ms. Davis, I’d like to write this story on how the NYPD is using computers to combat graffiti vandalism for Newsday’s Queens Neighborhoods section (6). Former Newsday reporter (7) Nathan Jackson suggested I contact you, as did Bryan Virasami, whom I met while covering a recent civic association meeting in Middle Village for the Queens Ledger. (8)In 700-800 words, I can fully develop this story tapping neighborhood activists (9) like the Glendale Civilian Observation Patrol (GCOP claims using this method before the NYPD), Tony Avella’s North Shore Anti-Graffiti Volunteers and key activists from both the Juniper Park Civic Association and the Jackson Heights Beautification Association.Covered points can include (10) the specifics of the d-base tracking system such as number of vandals monitored/arrested, the monetary cost of graffiti (11), how the NYPD works in tandem with community activists to foil graffiti vandals, as well as other ways the department uses technology to fight graffiti. Quoted sources could include (12) officers from the NYPD’s Anti-Graffiti/Vandalism Unit, computer experts from the department’s Technology Section and city officials from the Mayor’s Anti-Graffiti Task Force. (13)

My qualifications to write this story include several years of community journalism experience for both the Queens Ledger and Queens Chronicle (14) weekly newspapers as well as my status as a six-year resident of Queens who is well-acquainted with graffiti. (15)

I’ve enclosed a copy of my resume and several clips from both the Queens Ledger and the Queens Chronicle. Also included are a few letters to the editor from Newsday (16), just to give you a better idea of my writing style. Ms. Davis, I look forward to speaking with you soon regarding my story idea. Thanks very much for your time and attention.

Sincerely,
Alan J. Krawitz

Key Components of the Pitch

(1) Right off the bat, the pitch’s writer makes clear that what he’s addressing is an ongoing issue, creating a need for his story. Back to pitch

(2) Naming the multiple locations where graffiti shows up in Queens shows the problem is widespread, also helping to establish the need for his story. Back to pitch

(3) Writer brings his idea into the present, describing newly introduced and cutting-edge efforts to thwart the problem he’s identified. Back to pitch

(4) Citing a specific example by name puts a face on the story for an editor, also showing the writer’s done some research to back his idea. Back to pitch

(5) Emphasizing the story’s local provenance, as well as the crime aspect, is a hook sure to resonate with a city-centric paper like Newsday. Back to pitch

(6) Targeting the Queens Neighborhood section is an obvious slam-dunk for a piece so specific to the borough. Back to pitch

(7) The writer savvily mentions an implicit institutional endorsement, since one of Newsday’s own steered him to the editor he first contacted there. Back to pitch

(8) By referencing the Queens community board meeting where he met another person who suggested he query this pitch’s recipient, the writer shows he is steeped in his subject by mentioning that he was there on a Queens-related assignment for a rival outlet. Back to pitch

(9) Naming his word count, the writer cites a length customary for the section he’s pitching, while also indicating that he can bring the community angle into focus by interviewing area activists. Back to pitch

(10) The writer addresses the essential components of his proposed story, briefly explaining what the piece would cover. Back to pitch

(11) A financial aspect in any story is often enticing to editors, since issues of money and economic repercussions lend urgency to most ideas or issues. Back to pitch

(12) Naming those whom the writer might quote is crucial, especially when those sources are institutional or part of extremely bureaucratic organizations, such as law enforcement. Back to pitch

(13) The number and range of officials the writer can draw upon ensures that his proposed piece will cover both sides of the issue he plans to address, bringing in the perspective of activists with civilians’ interests at the fore, and the institutional, legal and official parties on the other side who seek to manage the graffiti problem across the entire urban area. Back to pitch

(14) Clips from competing Queens newspapers indicate that the writer has successfully delivered publication-worthy pieces on topics relating to what he proposes with this query. Back to pitch

(15) The pitch’s writer has a personal stake in the piece, along with firsthand knowledge of the situation and the familiarity with the neighborhood that comes with being a longtime resident. Back to pitch

(16) Including writing he’s done for Newsday‘s letters to the editor section shows that the writer is familiar with the paper, and extremely invested in what he reads in it. Back to pitch

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Pitches That Worked: Turning a College Reunion Into an Ambassador Feature

How the life story of a Nobel Prize winner scored one writer a meaty profile

6 min read • Originally published May 14, 2012 / Updated March 19, 2026

6 min read • Originally published May 14, 2012 / Updated March 19, 2026

As a freelancer, you must constantly have your eyes and ears open for good ideas. When this full-time scribe attended her college reunion, she heard a story about a famous alum who survived Nazi Germany to make history of his own. And, after some intense research and collaboration with her editor, the meaty, yet triumphant tale will appear in an upcoming issue of the Italian American-focused pub Ambassador.

What the Writer Did

Christian Feuerstein: The idea germinated at the 2011 Antioch College reunion where the keynote speaker was Mario Capecchi, class of ’61. I’ve known about Dr. Capecchi and his research for years, but his personal history is just awe-inspiring. A few months later, I was idly paging through the 2011 Writer’s Market, looking for an outlet for an entirely different essay, when my eyes lit upon the entry for The Ambassador, the magazine of the National Italian American Foundation.

I read some back issues of the magazine online, checked the masthead and sent the pitch via email in August 2011 — but it immediately bounced back! I grabbed the email address of the next editorial person on the masthead, Don Oldenburg, and sent it to him. Turns out, he was the new editor.

The Pitch

Subject: Query: Profile of Nobel Prize winning scientist Dr. Mario Capecchi

Mario Capecchi, the co-recipient of the 2007 Nobel Prize in medicine, has a background that would have pushed other people into memoir writing or political campaigning. [1] Born in Verona in 1937, [2] Capecchi was left homeless in 1942, when his American bohemian mother was arrested by the Gestapo and sent to Dachau. Family friends who were supposed to take care of Capecchi abandoned the boy instead. [3]

After living on the streets, he wound up in a hospital in Reggio Emilia, where he and other street children were given one cup of coffee and a crust of bread every day. Miraculously, his mother survived Dachau, and as soon as the Allies liberated the concentration camp, she set out to find her son. [4] They moved to a commune in Philadelphia, where Capecchi’s uncle instilled in him a love of science that led him to be mentored by legendary scientist James Watson at Harvard.

Capecchi shares the Nobel Prize for medicine for his work in gene targeting of the mouse embryo-derived stem cells, working on genetically engineered mice that have one or more genes turned off through a targeted mutation.

I propose writing a 1,500-word story on Dr. Mario Capecchi. I think a profile of Dr. Capecchi’s journey from poverty to prowess would be of great interest to members of the National Italian American foundation. [5]

I am a freelance writer currently living outside Baltimore, MD. I’ve been published in the Antiochian, Emergency Magazine, and Writer’s Digest. I am sending links to some of my online clips below, but I’m happy to provide them in print form as well. [6]

Thank you very much for your time and attention to this matter.

Sincerely,

Christian Feuerstein

Clip 1
Clip 2
Clip 3
Clip 4

Why the Editor Bit

Don Oldenburg, editor at Ambassador:
I receive pitches from lots of writers I don’t know; I start out skeptical but am always willing to take a look. In her query, Christian listed three publications where she’d published before and four links to pieces she wrote for her college alumni magazine. None of that blew me away, necessarily, but I appreciated her professional approach and that she followed our requirements for a pitch: make it brief and convincing, tell me why you’re the writer to handle the story, and give me two or three clips. Typically, I’m more interested in how the writer writes the query than how the clips read.

Christian clearly knew the focus of the magazine. Ambassador is a glossy publication of the National Italian American Foundation. Our stories are typically about Italian Americans or of [topics of] interest to Italian Americans. Her proposed story was both and had something of a celebrity angle. Not a rock star, but Nobel Prize-winning scientist Mario Capecchi rose to the top of his profession from a tough early life that included years as a war-orphaned street urchin during WWII. His story is dramatic and compelling and light years away from the pitches I typically reject from people who want to write about themselves growing up Italian American. She included enough information to tell me the basics but kept her entire query to fewer than 300 words, which I appreciated.

But there was a potential deal breaker: I emailed her back and asked, “Do you have access to Capecchi for an interview?” I wanted a fresh piece, not a clip job. Turned out, Christian and Capecchi both are Antioch alums, and she met him at a recent Antioch reunion. That seemed promising. Christian probably should’ve included that in her original query. Access is important.

Due to my heavy deadlines at the time, it took several weeks to nail this down. But Christian was patient, enthusiastic and personable, and she answered all of my questions correctly, including whether she could get high-resolution photos of Capecchi for the story.

What Happened Next

Christian Feuerstein: I got the go-ahead for the story on September 15, 2011, and Don told me he would place the article in the spring 2012 issue. We had agreed on a 1,500-word piece, but Mario’s life story is pretty jam-packed. I ultimately sent Don two versions of the story: one that was a strict 1500 words and one that was a whopping 1,887 words, so he could see my edits and decide if my cuts were what he wanted.

Don Oldenburg: While I prefer writers to write the best story they can to the word length, I actually read both versions and pulled some information from the longer version into the story. The story arrived in good shape. I edited it, had a few questions and asked Christian to rework and simplify some of the science grafs. The Capecchi profile, “The Ravages of War, the Triumph of Science,” is running in the FOB of the spring Ambassador which comes out mid-March. We haven’t discussed another piece yet, but I’d be happy to work with Christian again.

Christian Feuerstein: One thing that changed from my initial pitch to the finished article was that Dr. Capecchi’s mother wasn’t at Dachau. She was definitely imprisoned by the Nazis for her anti-fascist work, but no records of her exist at that concentration camp. Where she was and what happened to her is still a mystery — she refused to ever speak about it to her son.

Key Components of the Pitch

(1) A strong opening sentence is key. By stating that Capecchi is a Nobel Prize winner with an unusual background, she adds drama to the pitch to ensure that the editor keeps reading. Back to pitch

(2) Including Capecchi’s hometown of Verona shows that Feuerstein knows Ambassador‘s audience: Italian Americans. Back to pitch

(3) With even more details of Capecchi’s family history, Feuerstein shows that she’s done ample research and isn’t just pitching the subject blindly -– or worse, expecting the editor to Google missing information. Back to pitch

(4) Rather than merely explain Capecchi’s circumstances, the writer paints a picture of it. Images of him surviving on “one cup of coffee and a crust of bread every day” and of his mother’s search to find him gives the editor a good idea of what the finished piece will look like. Back to pitch

(5) A good pitch should prove why the idea is relevant for the magazine you’re pitching. Feuerstein restates how Capecchi’s Italian roots and success story will resonate with Ambassador readers. Back to pitch

(6) It’s a good idea to include links to your clips if you’ve never worked with that editor or publication before. Feuerstein also shows that she is amenable and easy to work with by offering to send hard copies, as well. Back to pitch

Did your awesome pitch lead to an assignment? Editors, got a winning query in your inbox that other writers could learn from? Share the love and let us feature it in the next issue of Pitches That Worked.

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Pitches That Worked: Landing a Travel Story in AFAR Magazine

A precisely targeted pitch immediately piqued an editor's interest

7 min read • Originally published June 4, 2012 / Updated March 19, 2026

7 min read • Originally published June 4, 2012 / Updated March 19, 2026

Every writer should take a page from Alexis Adams’ book. Her pitch on the Greek delicacy of hortopita had everything editors dream of: extensive research on the subject, compelling storytelling, and a perfect peg to one of the publication’s departments. The result? A 500-word “Feast” article in the March/April 2012 issue of travel mag AFAR — and the possibility of a feature assignment.

What the Writer Did

Alexis Adams: I came up with the idea while gathering wild greens in the mountains above the Greek village where I live part of each year. As a freelance writer, I cover a lot of different topics, but I am especially interested in writing about the culinary traditions of my region of Greece. This idea was a natural extension of that interest.

I had sent various iterations of the pitch to three or four other publications, but many of the editors told me that, while they found the subject interesting, it was also too “niche-y” for their readership. I persisted, sensing someone would find it a good fit. When I first discovered AFAR, I was taken by its unique approach to travel and travel writing, so I immediately looked up the magazine online and found very clear submission guidelines for each department. The “Feast” section seemed a perfect match, so I sent my pitch by email to the address provided in the guidelines.

The Pitch

Subject: A story idea from Greece for Afar’s “Feast” department

Dear Derk:

Paring knife in one hand, empty plastic bag in another, I am following my friend Lakis as he climbs a narrow goat path through thorny brush to a meadow he promises will yield tasty results. [1] We are high on a mountain plateau on the eastern Peloponnese Peninsula in Greece, and we are in search of “horta,” the wild greens prized by Greeks for their health benefits and flavor. Boiled or steamed and then topped with olive oil, lemon and salt, horta apo ta vouna (horta from the mountains) is, hands-down, my favorite dish in Greece. [2] In my village of just under 300 souls, [3]where for nearly everyone the growing, the gathering and the meticulous preparation of food are not hobbies but necessary chores, foraging for horta is done with consistency, efficiency and seriousness. And this day is no exception. Lakis has gathered horta in these mountains for most of his 55 years; thus, he knows the territory. I watch as he scrambles over a rock wall and do my best to keep up with him.

Long a staple in the traditional Greek diet, horta grows all over Greece. In this region, the season for gathering horta stretches from the rainy winter months until early spring, just before the greens blossom. The same greens we eat today were prized by the ancients: according to myth, the hero Theseus ate a dish of horta before taking on the bull at Marathon. Through the centuries, horta has helped Greeks endure through lean times, and again it does today. For some, horta is less a food of necessity than a delicacy, and it can be found on menus in restaurants throughout Greece, steamed, baked into pies, and as an ingredient in stews and casseroles.[4]

I propose a 500-word story on horta for AFAR‘s “Feast” department. [5]At least 80 different varieties of horta grow in Greece; my article will examine some of the most interesting and cherished of the wild greens. It will explore horta’s prolific role in the Greek diet and the Greek proclivity for foraging for it — be it from the mountains of rural Greece or along roadsides in suburban Athens. It will offer insight on the fascinating role of horta in Greek history, and it will help readers identify and sample dishes made with horta apo ta vouna should they travel to Greece. Finally, it will feature a step-by-step recipe for hortopita, or wild greens pie. (Spanakopita is a refined version of this dish.) I can provide beautiful, high-resolution photos to accompany the story. [6]

Over the years, I have covered topics ranging from sustainable agriculture to matters of the spirit for The Sun Magazine, Yoga Journal, Saveur, The Art of Eating and other publications. I have had the great good fortune to interview many fascinating folk, including the environmental writer and activist, Bill McKibben, the founder of the Utne Reader, Eric Utne, Krishna Das, dubbed “the chantmaster of American yoga” by the New York Times and, here in Greece, nomadic shepherds in the Peloponnese who combine ancient techniques with the raw milk of their goats and sheep to create rich, earthy cheeses. [7] Because I’ve contributed to American and European publications for more than 10 years, I understand that editors want compelling, well-crafted, accurate pieces delivered on time.

Many thanks for considering my proposal.

Sincerely yours,

Alexis Adams

Why the Editor Bit

Derk Richardson, senior editor at Afar: The hortopita pitch was the third of three queries that Alexis sent to AFAR within about a three-month span. I had not worked with her before, but was impressed by the intimate familiarity she demonstrated with each topic and the detail she put into each pitch. Although she did note a variety of freelance credits and 10 years of writing experience, those weighed less heavily in the decision to commission the story than did the quality of the pitch. We do like to see writing samples marked by a distinctive voice and graceful prose, but those qualities can come through in a well-crafted and precisely targeted pitch.

Alexis’s pitch showed that she had a good grasp of the mission and tone of the magazine, that she had made herself familiar with the writers’ guidelines for the “Feast” department, and that she probably had read “Feast” stories in the magazine. Her pitch opened with a scene that immediately piqued my interest and set a cultural and historical context for the dish she wanted to write about. She was pitching from first-hand experience and had already done significant research. And she laid out, in detail, the elements that would go into the story, whereas many writers simply pitch a concept. Moreover, there was an underlying sense of passion and curiosity, which is important when it comes to writing about food and essential when writing about anything for AFAR.

What Happened Next

Hi Alexis,

We had our Feast meeting yesterday to line up assignments and I’m happy to report that hortopita made the cut. We were especially intrigued by the elements you wove into the pitch: the foraging, the mythology, your local connections, the green itself, and the connection to a more “expected” dish, spanakopita.

I’ll be working up assignment letters and contracts in the coming week, but I wanted to give you a heads up and let you know that we’re looking at mid-July for the deadline.

Thanks so much,

Derk

Alexis Adams: Once my editor sent me his response, he was very hands-off, promptly offering answers to any questions I had, but allowing me the room to write the piece. After I submitted the story, we exchanged a few email messages to edit it together.

In November 2011, I helped to coordinate the photo shoot for the story, working quite closely with the magazine’s photo editor and the photographer they hired. That was great fun. In short, the editors at AFAR are very respectful, communicative, generous and kind. Such a pleasure to work with.

Derk Richardson: The manuscript came in a little long and needed some editing to balance the elements and smooth the flow, but it ran essentially as pitched. Although we have yet to commission another story from Alexis, she has pitched other promising ideas and has been very willing to rework pitches in back-and-forth correspondence — and we are currently considering making a feature assignment.

Key Components of the Pitch

(1) Editors are busy people, so keep yourself out of the slush pile by hooking them early with a strong opening sentence. Here, Adams takes the reader alongside her trek through the Greek mountains and shows that she can tell a story. Back to pitch

(2) Now, that she has the editor’s attention, Adams introduces the subject of her pitch, explaining what it is and how it is eaten and prepared. Back to pitch
(3) Always let the editor know if you have special access to the subject you’re pitching. One of the reasons Adams got the assignment, said Richardson, is that she lives in Greece where horta is grown and has “first-hand experience with it.” Back to pitch

(4) You can never provide too much detail. Adams dedicates the entire second paragraph to further explaining the significance of horta: when it grows, its history in Greek mythology, and how it’s used in cooking. Back to pitch

(5) Very important: Tell the editor where the piece will fit in the magazine. Editors don’t just want any idea — they want one tailored to their audience. Richardson said he could tell that Adams not only knew AFAR, but the “Feast” section, specifically. Back to pitch

(6) Can this pitch get any better? Now, Adams details exactly what the article will cover and even offers to shoot her own photos. As Richardson explained, editors want fully-fleshed out ideas that help them visualize the finished piece, not just generic concepts. Back to pitch

(7) When listing credentials, it’s always a good idea to mention anything that, again, proves you know the subject you’re pitching. Adams does this by including details of a previous piece she wrote on Greek food. Back to pitch

Topics:

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Pitches That Worked: How Trend-Spotting Landed a Texas Highways Assignment

Spotting a food trend early helped this freelancer land an assignment

7 min read • Originally published August 23, 2012 / Updated March 19, 2026