Why Hiring a Subcontractor Could Make Your Freelance Business More Profitable

A little help can go a long way

Amanda Layman is a B2B tech content writer and strategist with over 15 years of experience creating content for startups and enterprise brands. She founded Tigris, a content agency serving leading tech companies, and authored The New Freelance: A Book for Writers.

5 min read • Originally published December 1, 2015 / Updated March 19, 2026

By Amanda Layman Low

@AmandaLaymanLow

5 min read • Originally published December 1, 2015 / Updated March 19, 2026

There comes a time in every freelancer’s career when he or she is faced with a choice: scale back your number of clients and focus only on the best two or three, or scale up. Scaling up is scary for obvious reasons. What if you make promises you can’t keep? What if you wind up glued to your computer screen for 60 hours a week, with no time to enjoy the income you’re earning?

Freelancing doesn’t have to be a constant battle between poverty and abundance, lack of work and being overworked. Even if you don’t aspire to be the CEO of your own massive operation one day, imagine how delegating some of your tasks could benefit you now.

For writer Jennifer L.W. Fink, hiring a transcriptionist was a lifesaver. For me, hiring a content-development assistant has bought me precious hours I’ve used for finding new clients in my areas of interest (and nurturing existing client relationships).

Before we get into the nitty-gritty of how it works, imagine the possibilities. A subcontractor could be a…

Transcriptionist
Administrative assistant
Proofreader
Graphic designer
Writer
PR professional
Digital marketer

Of course, there are many more options. The kind of subcontractor you might hire depends on several things, and the rates vary widely. For example, a transcriptionist may charge from $1 to $3 per recorded minute; a personal assistant could cost as little as $3 an hour; and a bookkeeper could charge from $30 to $50 an hour. Let’s take a look at some next steps.

Figure out what you do best and where you could use some help.

Although many freelancers wear multiple hats and enjoy the diversity of doing it all, nobody is equally great at every task. There’s a chance you got into freelancing because you’re passionate about writing or marketing or public relations or event planning. In my case, I’ve come to realize I’m at my best when I’m doing sales, consulting and specific types of writing. The other aspects of my business (proofreading, editing and research) are now handled by my subcontractor.

Fink freed up hours of her time by hiring a transcriptionist. She recalls that it used to take her an hour and a half to transcribe a 30-minute interview. “By the time the interviewing and transcribing was done, I still hadn’t written the article,” she says. Once she hired a transcriptionist, she started pitching more assignments and finishing her work faster. She also observed that having someone else transcribe the article would allow her to be more present during her interviews and less focused on furiously jotting down notes.

A virtual assistant also helps Fink schedule her social media posts. Fink still creates and finds her own content, but instead of spending hours every week scheduling posts, her assistant does this. She reports being more productive than ever, and it’s because of these two people.

Consider how a partnership could help grow your business.

Solo PR Pro founder Kellye Crane says that working with subcontractors can be a powerful strategy for a growing brand. Even though her company has the word “solo” in it, it’s a misnomer: “Everyone works with other vendors and subcontractors. [Subcontractors] can be key to taking your business to the next level and making sure you can handle interesting, wide-ranging projects and go to much larger clients.”

Crane adds the important point that subcontractors aren’t always doing administrative tasks. “You can work with someone who is almost your partner, but the actual structure of the relationship is that of a subcontractor,” she says, referencing a 15-year PR colleague who sometimes subcontracts to her, and vice versa. “It depends on who has the primary client relationship. We each have different strengths, so we’re able to bring each other in on various projects and opportunities.”

It’s not just the added time you get from doling out tasks that helps you get more done. Often, having access to someone with a different skill set than yours can score you new types of clients. Explains Crane: “You can say [to your client], ‘I’m going to pull an expert who has the contacts in your specific industry,’ and ‘I’m going to bring in a writer who writes what you need.’ You can be flexible in the assembly of your team. It can compete with, or even be more successful, than a brick-and-mortar agency.”

Find the right subcontractor for your needs.

Of course, there are legal implications to hiring a subcontractor. After you’ve spread the word (via Facebook, LinkedIn or Craigslist) and someone has expressed interest, it’s time to shift your mentality from solo flyer to copilot. It’s a good idea to hire a lawyer to write, or at least look over, the contract you create for your new partner. That way, it’ll be clear to both parties you’re not in an employer/employee relationship (which has its own set of legal and tax requirements).

It’s also important to consider whether or not your clients need to know about your subcontractors. This depends largely on the type of work your assistant or partner is doing. For instance, if you have a transcriptionist, you probably don’t need to tell the editors of the mags you’re writing for. However, if you’re a writer working with another writer to develop an eLearning course, your client should probably know you’re not the only one on the project.

Don’t forget to put safeguards in place when testing the waters with a subcontractor. Start small by offering just one project (regardless of the person’s availability or willingness to contribute). It’s also smart to hire your first subcontractor from within your existing social or professional network. Working with someone you know and trust will offset the potential stress of putting together your first contract and shifting over to more of a management role. They’ll likely be more forgiving, too, if you make mistakes along the way.

Finally, allow yourself time to check your subcontractor’s work. Even if you’ve hired someone you’ve known for years, your name is still on the work, and anything that deviates from your style could potentially alter your brand image. Remember, the ultimate goal should be to enhance your brand or grow your business. Working with the right subcontractor can enable you to do more than you could have ever done on your own.

Topics:

Go Freelance, Journalism Advice

How to Pitch

Personal Essay Markets, Part IV: Online Publications Accepting Submissions

Share your personal story with the world at these digital pubs

By Jenny Rough

Jenny Rough is a writer and former attorney with over 20 years of experience crafting stories for magazines, newspapers, and podcasts, and currently serves as letters editor for AARP The Magazine and AARP Bulletin. She holds a J.D. summa cum laude from Pepperdine and a bachelor's in creative writing from Miami University.

7 min read • Originally published December 3, 2015 / Updated March 19, 2026

By Jenny Rough

7 min read • Originally published December 3, 2015 / Updated March 19, 2026

As digital media grows, more and more e-zines and online-only publications are making an appearance. Part I, Part II and Part III of this guide highlighted 45 print publications that love personal essays.

This final installment brings you 14 more markets, all of which publish online essays.

1. Aeon Magazine

Aeon is a digital magazine that publishes four original, polished essays every week. These smart, outside-of-the-box pieces cover culture, science, art, religion and psychology. Send a pitch (no longer than one page), not a finished article on spec. Review past examples on the website.

Length: Varies widely, from 1,500 to 8,000 words

Pay: Standard rate is $0.55 a word

Assigning editor: Ed Lake, ED dot LAKE at AEON dot CO

Editors’ advice: There is no one-size-fits-all rubric for an Aeon essay, but one commonality among successful pitches is a willingness to go deep on a topic in both research and scope — and to have a truly extraordinary angle.

2. Aish.com

Essays for Aish should be dramatic first-person accounts that convey Judaism in a real and positive manner. Past examples include an essay by a woman who shares the lessons she learned after her husband was fired, and a story of a man who experienced anti-Semitism in France.

Length: 800-1,200 words

Pay: $200

Assigning editor: Shagra Simmons, SIMMONS at AISH dot COM

Simmons’ advice: “The article should be accessible to Jews of all stripes, from the unaffiliated to the Orthodox.”

3. American Food Roots — “Essays”

AFR is a place to tell the story behind the recipe. The four food journalists who launched this e-zine want to know about your Bubbe’s chopped liver, your New Orleans cousin’s gumbo, your neighbor’s beaten biscuits or the pho you can’t live without. A recent piece traced the roots of the Czech mac n’ cheese made by the writer’s Irish grandmother.

Length: 600 words, plus a recipe

Pay: None yet, but the new pub is moving in that direction

Assigning editor: Bonny Wolf, BONNY at AMERICANFOODROOTS dot COM

Editors’ advice: We are looking for stories that demonstrate the diversity of American food culture. Please send a short pitch, supported by clips. A recipe with a photo is appreciated. AFR also publishes two-minute video conversations, preferably with two people discussing a food or food-related tradition.

4. Babble

An online magazine for a new generation of parents, Babble runs personal essays related to various stages of child rearing (pregnancy, baby, toddler, preschooler, etc.). New writers should pitch their essay, or a fleshed-out outline, on spec. Please note that Babble only pays for pieces that have not been previously published, including on your own blog. Once a piece has run on Babble, it cannot be syndicated on another site without permission.

Length: 750-1,200

Pay: Typically $100-$150; $250+ for larger pieces

Assigning editor: Megan Sayers, SUBMISSIONS at DISNEY dot COM

Editors’ advice: Since most content is produced in house, we’re very selective in choosing what to commission, but we’re always looking for new voices. We look for personal essays that add a unique perspective to Babble and that have not previously been covered on the site. We are also willing to pay more for parenting trend and service pieces that involve research and reporting.

5. Bay Journal

The Bay Journal News Service syndicates articles on environmental issues affecting the mid-Atlantic and Chesapeake Bay Watershed regions. It welcomes personal essay/op-ed pieces that tie to policy or newsy themes. Read past examples in the archives.

Length: 800 words

Pay: $500

Assigning editor: Michael Shultz, MSHULTZ at BAYJOURNAL dot COM

Shultz’s advice: “Make people think. Have a strong point of view. Be current. Write with an active voice. Be fair.”

6. CSMonitor.com — “The Home Forum”

The Christian Science Monitor, an international news organization, publishes essays online in its section called The Home Forum. (All essays appear in print before they are posted online, so it’s a dual format.) Specifically, the Monitor is looking for first person, nonfiction explorations of how you responded to a place, a person, a situation or happenings in everyday life.

Length: 500-800 words

Pay: $75-150, depending on length

Assigning editor: Owen Thomas; use the online submissions form or email HOMEFORUM at CSMONITOR dot COM

Thomas’ advice: “The contributor’s guidelines are a good summary of what we’re looking for, and potential contributors should take a look at current ‘Home Forum’ essays to get a feel for the section.”

7. Dame — “First Person”

Dame, a magazine for women, is interested in “narrative-driven, honest essays from writers of all different backgrounds who are revealing not only something new to us, but maybe to themselves,” says executive editor Kera Bolonik. Past examples include Alysia Abbott’s “My Life As a Reluctant Outlier” and “My Mother Always Told Me Not to Cry,” by Lesl_?a Newman.

Length: 800 to 2,000 words

Pay: $150 to $200

Assigning editor: Kera Bolonik, KBOLONIK at DAMEMAGAZINE dot COM

Bolonik’s advice: “What’s most important to us is voice and the ability to tell a good story. We are less interested in credentials (clips, MFAs, etc.) and style. We just want to be pulled in. If it’s rough, but we feel there is something unique or resonant there, we will work closely with the writer to take it to the next level.”

8. The Morning News — “Personal Essays”

The Morning News, a weekday online magazine, publishes personal essays, says editor Andrew Womack, but “we don’t look for any topic in particular. We’re open to everything.”

Length: 2,500 words is a good guideline, but TMN is open to longer pieces

Pay: Varies

Assigning editor: Andrew Womack, ANDREW at THEMORNINGNEWS dot ORG

Womack’s advice: “The No. 1 thing we want are pieces with a strong voice.”

9. Narratively

Narratively publishes five stories per week on a preselected topic, such as the recent theme “Life on the Run” (email INFO at NARRATIVE dot LY for a list of upcoming themes). Most weeks include at least one first-person story. The editors like in-depth “slow storytelling” instead of short fast-breaking headlines. Stories should have a human-interest angle.

Length: 1,000 to 5,000 (3,000 words is average)

Pay: $300

Assigning editor: Brendan Spiegel, BRENDAN at NARRATIVE dot LY

Spiegel’s advice: “In terms of personal essays, we’re looking for stories that only you can tell. We want the one story that you simply must share with others; a one-of-a-kind experience that couldn’t be written by someone else.”

10. OrangeCoast.com — “My OC”

This lifestyle magazine is directed at the residents and visitors of Southern California’s Orange County. “My OC” is its personal essay column. It is open to any topic as long as it ties into the geographic region. A past example was by a non-native transplant who wondered if she could enjoy living in a physically active area by the beach even after she tore her hamstring.

Length: 1,200 words

Pay: $200

Assigning editors: Laura Bleiberg, LBLEIBERG at ORANGECOASTMAGAZINE dot COM; or Chris Christensen, CCHRISTENSEN at ORANGECOASTMAGAZINE dot COM

Editors’ advice: This essay is written on spec, it’s not assigned, so freelancers need to write it and send it to us. Make sure the essay works on two levels: a great personal story that has a universal theme related to life in Orange County.

11. The Rumpus

This literary website seeks writers who are passionate and emotional about the topics it is covering. It seeks essays that contain moments of self-discovery, meditations on contemporary concerns and hard-won insights. A past example was by a woman who longed for another tattoo but was married to a man who didn’t want her to get it (she did anyway).

Length: There is no word-count limit.

Pay: None

Assigning editor: Mary-Kim Arnold; use the submission manager form

Arnold’s advice: “I’m looking for attentiveness to language and an urgency that drives the piece. The most compelling essays are those which place moments of personal insight and reflection in a larger context.”

12. Salon

Essays on this news site can cover any subject matter, but hot topics are families/parenting, sex and relationships, personal finance, body image, and pop culture.

Length: Varies, but roughly 1,500 words

Pay: $100 and up

Assigning editor: Sarah Hepola, SHEPOLA at SALON dot COM

Hepola’s advice: “We’re looking for extraordinarily true-life tales. I always ask writers to think of a story that only they can tell.”

13. Tablet — “Life and Religion”

This online magazine focuses on Jewish ideas, news and culture. In its “Life and Religion” section, writers tackle topics such as religious observance, food, family and personal history. Writers don’t have to be Jewish, but the subject of the essay needs a Jewish angle.

Length: 1,200 to 1,800 words; however, stories occasionally run a few hundred words longer

Pay: $200

Assigning editor: Wayne Hoffman, WHOFFMAN at TABLETMAG dot COM

Hoffman’s advice: “I’m not looking for straight memoir, personal anecdotes or pieces about how other people should think/act. I’m looking for essays on a Jewish topic you’ve wrestled with for a long time, where your thoughts and feelings have evolved over time.”

Topics:

Go Freelance, How to Pitch

How to Pitch

Personal Essay Markets, Part III: 15 More Publications Seeking Submissions

We continue our four-part series with 15 more targets that seek first-person pieces.

By Jenny Rough

9 min read • Originally published December 3, 2015 / Updated March 19, 2026

By Jenny Rough

9 min read • Originally published December 3, 2015 / Updated March 19, 2026

The first and second installments of this feature highlighted 30 pitchable personal essay markets. Round 3 brings you an extra 15 venues that are hungry for your true-life tales. And stay tuned for a list of online markets in Part IV.

31. Proto — “First Person”

This quarterly biomedical magazine published by Massachusetts General Hospital prints first-person articles that originate “at the other end of the stethoscope, presenting essays and commentary from patients, consumers and other medical outsiders,” according to its mission statement.

Length: 700 words

Pay: $700

Assigning editor: Jason Anthony, JASON underscore ANTHONY at TIMEINC dot COM

Anthony’s advice: “Though some of our stories are tear-jerking, they need not be. We look for beautiful writing and a compelling voice. A Massachusetts connection is not necessary.”

32. Psychology Today — “Two Minute Memoir”

In every issue, this magazine on human behavior runs a “Two Minute Memoir” column featuring narratives that focus on interpersonal relationships of the romantic, platonic and familial nature. A past example addressed how a sleepwalker got a handle on her dangerous behavior by finally revealing her nocturnal habits to a man who loved her. Another was a father’s realization that he, like his son, had Asperger syndrome.

Length: 1,000 to 1,500 words

Pay: Up to $1 a word

Assigning editor: Jennifer Bleyer, JENNIFER dot BLEYER at PSYCHOLOGYTODAY dot COM

Editors’ advice: Essays must be written

on spec, so submissions are preferable to pitches. PT is particularly interested in essays focused on more unusual relationships. Because the high volume of submissions received focus on a parent’s mental illness or the loss of a loved one, the bar is especially high on these subjects. Editors cannot respond to every submission.

33. Runner’s World — “Life & Times”

These essays about a running-related experience are open to a wide variety of voices (humorous, reflective, sentimental, etc.). Examples include how running helped a young adult with disabilities feel just like everyone else and how running with a little dog helped an expat overcome her fear of a big city.

Length: 500-600 words

Pay: $700 (generally)

Assigning editor: Christine Fennessy, CHRISTINE dot FENNESSY at RODALE dot COM

Fennessy’s advice: “Essays that work have a larger message. They aren’t just about your favorite run or something funny that happened on a run. The essays that work capture some insight that speaks to a broader audience.”

34. Sierra

With more than 1 million readers, Sierra, the magazine of the Sierra Club, is devoted to exploring, enjoying and protecting the planet. There are several one-page essay slots for human-powered travel, general environmental topics and humor that offer writers the opportunity to craft short, first-person narratives about an experience that relates to the magazine’s environmental or outdoor-adventure themes. You can find examples in its archives. Review submission guidelines.

Length: 600-800 words

Pay: $1 a word, but flat fees are sometimes negotiated

Assigning editors: Jake Abrahamson, Wendy Becktold, Reed McManus, Paul Rauber or Avital Andrews, FirstName dot LastName at SIERRACLUB dot ORG

Andrews’ advice: “Pitch stories with unusual angles and strong narratives. We respond best to ideas about climate issues and solutions, adventure travel, and green-living trends. We aim to tell the story of how people of all cultures are affected by their environment, so if your pitch has a diversity aspect to it, so much the better.”

35. Skirt! Magazine — “Essays”

This magazine about women’s work, play, families, creativity, style, health, wealth, bodies and soul publishes at least two essays each month in its print editions. Each essay should fit one of its print themes and resonate with the publication’s women readers and their interests. Themes for 2015 include: The Local Issue, August (what home means to you); The Go Issue, September (a winning moment in sports); The Numbers Issue, October (write an exact time in the headline — a time you will always remember); The Taste Issue, November (best or worse dinner parties); and The Magic Issue, December (inexplicable events or incidents).

Length: 800 to 1,100 words

Pay: $200

Assigning editor: Skirt! no longer has an in-house editor. A number of different outside editors review essays. Send submissions to SUBMISSIONS at SKIRT dot COM, preferably as a rich text format or an .RTF attachment.

Editors’ advice: Study previously published essays in order to get a sense of what editors choose over time. And be persistent: essays are rejected for a variety of reasons. Sometimes they just miss the mark, sometimes the work isn’t up to par and sometimes editors are looking for a more diverse mix. The magazine has had writers who submitted different pieces up to 10 times before one was accepted.

36. Spirituality & Health

Personal essays run in every issue, both front-of-book and in the features well. A past essay discussed how a woman overcame her skepticism and visited a shaman to heal her broken heart. Another was a man’s simple but emotional story of discussing love and death with his 5-year-old granddaughter. Topics can vary widely but should fall under the umbrella of health and spirituality, which can include personal transformation, the inner life, spiritual practice, wellness or healing. While it is fine to tell personal stories of faith, the magazine shies away from articles that focus on dogma or organized religion. Personal essays are considered on spec only.

Length: FOB runs 500-900 words; features can be up to 2,000 words

Pay: Varies, based on writer’s skill and experience

Assigning editor: Steve Kiesling, EDITORS at SPIRITUALITYHEALTH dot COM

Editors’ advice: While personal essays are an important part of the magazine, editors receive a lot of submissions and look for something that stands out from the crowd. Either the story should be extraordinary, or, if the writer’s covering a universal experience, it should have an extraordinary voice that can shine a new light on a familiar subject.

37. The Sun — “Essays, Memoirs & True Stories”

Each issue of this magazine runs a number of literary essays. Editors tend to favor personal writing, but they are also looking for provocative nonfiction on political and cultural issues. Previously published essays include Cheryl Strayed’s “The Love of My Life” and Mark O’Brien’s “On Seeing a Sex Surrogate.”

Length: 7,000 words max

Pay: $300 to $2,500

Assigning editor: Carol Ann Fitzgerald, The Sun, 107 N. Roberson St., Chapel Hill, N.C. 27516

Fitzgerald’s advice: “Please read the magazine before submitting. And take a look at our submission guidelines.”

38. Washington Post

The “Health and Science” section, published on Tuesdays, occasionally runs first-person stories on topics related to physical and mental health and wellbeing. Past examples include one mother’s struggle with post-adoption depression, and a health economist’s difficulty in navigating the heathcare industry when she had to undergo brain surgery. Most articles, including essays, are reported stories on new developments in health and science.

Length: 900 to 1,500 words

Pay: $0.50 a word

Assigning editor: Pooh Shapiro, POOH dot SHAPIRO at WASHPOST dot COM

Shapiro’s advice: “Writers should expect to know what all the newest research says about their topic, even if they are only writing first-person narratives. Anyone pitching a story should go back and read what we may have written on that topic in the last several years.”

39. Washingtonian — “First Person”

The back-page essay in this magazine should have a Washington, D.C., angle, and it’s best if the writer lives in or has lived in the area. Past examples include a local woman writing about her conflicted relationship with her Hollywood-actor father and a piece about what it’s like to lose (and regain) your hearing in your 40s.

Length: 600 words

Pay: $1 a word

Assigning editor: Bill O’Sullivan, BOSULLIVAN at WASHINGTONIAN dot COM

O’Sullivan’s advice: “Get in fast — 600 words isn’t much space, so you have to set up your story quickly. Be sure you have something to say (an essay as opposed to an anecdote) and fill it with as many specific details and mini anecdotes as possible. Keep in mind that this is a story, not an opinion piece.”

40. Whole Life Times — “BackWords”

Whole Life Times runs one first-person essay per issue. The publication asks for provocative, insightful or humorous stories related to holistic health, yoga, new spirituality or sustainable living. Examples include a man who is concerned about overpopulation but squeamish about his approaching vasectomy, and an Earth Day event organizer who finds unexpected satisfaction in picking up street trash with her neighbors.

Length: 650 words

Pay: $100

Assigning editor: Abigail Lewis, ABIGAIL at WHOLELIFEMAGAZINE dot COM

Lewis’ advice: “This essay should be a personal story that centers on some pivotal or ‘Aha!’ moment in the life of the writer, and should be related to one of our themes [green living, evolving spirituality, social responsibility, health and wellness]. We particularly appreciate humor and stories that tie into our local area of Los Angeles.”

41. Wine Enthusiast — “Last Drop”

Essays for “Last Drop” should involve wine, food, travel, spirits or beer. Although many essays are humorous, they don’t have to be. Think pieces, philosophical or ruminative, are welcome as well.

Length: 400 words

Pay: $1 a word

Assigning editor: Joe Czerwinski, JCZERWIN at WINEENTHUSIAST dot NET

Czerwinski’s advice: “Often a preliminary query or pitch will yield better results than unsolicited manuscripts.”

42. Working Mother — “LOL” and “IMHO”

These fresh personal essays for Working Mother should be about parenting adventures that tie into work-life balance. “LOL” is humorous (a mother’s lament about the fact that her kids always seem to get sick when an important work deadline is pending), while “IMHO” has a more serious tone (a working mom of one whose life plan is thrown off course when she learns she’s pregnant with twins).

Length: 500-600 words

Pay: In-book, from $400; online, from $300

Assigning editor: Barbara Turvett, BARBARA dot TURVETT at WORKINGMOTHER dot COM

Turvett’s advice: “Real and edgy are good here! Dad essays are welcome, too.” Also review writer’s guidelines.

43. The Writer — “Off the Cuff”

Published in most issues, “Off the Cuff” is a personal essay that covers a specific aspect of writing or the writing life and should include some measure of instruction and advice for writers or a takeaway message.

Length: 1,000-1,500 words

Pay: $300

Assigning editor: Meredith Quinn, MQUINN at MADAVOR dot COM

Editors’ advice: Although writing quality, freshness and instructive value are important in our essays, editors are also open to the occasional contrarian and to unexpected or surprising wisdom.

44. Writer’s Digest — “5-Minute Memoir”

In every “Inkwell” (the FOB section), Writer’s Digest, publishes a first-person essay on some facet of the writing life or publishing industry.

Length: 600 words

Pay: 30 to 50 cents a word

Assigning editor: Adrienne Crezo, WDSUMBISSIONS at FWMEDIA dot COM

Crezo’s advice: “Your submission subject should be ‘5-Minute-Memoir.’ The essays we tend to like best are those that break the mold of what you might expect to find in an instructional writing magazine: something with a narrative, something with a strong pulse, something often with a sense of humor. If you’re writing about a topic such as rejection or writer’s block, we’ve tackled those subjects many, many times, so the key is to offer a fresh means of framing the subject in a way that only you can. Read as many 5MM as you can before submitting. This column has a high volume of submissions; those that stand out are focused, error-free and memorable long after they’re read.”

45. Yankee

Yankee publishes personal essays in its features well that tie into life in New England (Connecticut, Massachusetts, Maine, New Hampshire, Rhode Island and Vermont). Click here for an example of an unsolicited essay that was published in Yankee.

Length: Up to 2,000 words (shorter is usually better since space is always a factor)

Pay: $800-$1,200

Assigning editor: Joe Bills, EDITORS at YANKEEPUB dot COM

Editors’ advice: Yankee is focused on seasonality. For example, the publication has an essay about haying that is set in summer, an essay about hunting that is set in November, and so on. See what editor Mel Allen has to say in “The 5 Best, Surefire Ways to Break into Yankee.”

Topics:

Go Freelance, How to Pitch

How to Pitch

Personal Essay Markets, Part I: Where to Submit Your Work

Market your first-person material to one of these eager outlets

By Jenny Rough

8 min read • Originally published December 3, 2015 / Updated March 19, 2026

By Jenny Rough

8 min read • Originally published December 3, 2015 / Updated March 19, 2026

“That which is most personal is most universal,” said author Henri Nouwen.

In personal essays, writers use material from their own lives and share it in a way that offers insight to the individual emotional experience. Usually submitted in advance (check each publication’s preferences), personal essays come in the long form, the short form and every length in between.

In this update to one of our most popular series, we’ve gathered some of the top markets and listed them, including details on pay, word count, submission etiquette and insider tips from the editors themselves. We’ll cover even more markets in Part II and Part III, and will present an updated guide to digital outlets in Part IV.

1. AARP The Magazine

The crucial ingredient in essays for AARP is they must offer fresh insight into an aspect of life after 50. Style and emotional heft are also important.

Length: 1,200-1,500 words

Pay: $2 a word

Assigning editors: Margaret Guroff: MGUROFF at AARP dot ORG

FirstInitialLastName@AARP.org

Guroff’s advice: “Originality is key. Certain life events, such as caring for a parent with Alzheimer’s disease, inspire many more great essays than we could ever hope to publish. We’re looking for the compelling reads and universal truths in unusual, extreme or common-but-little-discussed life experiences.”

2. Alumni magazines

Flip through the pages of your alma mater’s magazine to see whether it runs personal essays. Many do. You must be an alumnus or alumna, of course, but it can be a great outlet because the topics are generally wide open and the tone can range from serious to humorous. Notre Dame Magazine, for example, runs essays in its “CrossCurrents” department, Scripps Magazine has an essay column titled “Alumnae Speak,” and the University of California, Berkeley’s California Magazine has one titled “Out of the Gate.” The tether to the school is simply that you are one of its graduates.

Length: Depends on the publication, but these essays often run on the back page, which usually leaves room for about 600 to 900 words.

Pay: Most alumni magazines pay their writers. An “Out of the Gate” essay will fetch $1 a word.

One editor’s advice: Vicki Haddock, an editor at California Magazine, said when it comes to personal essays she’s “looking for good, lively writing and an individualized experience rather than an opinion or argument.” Her advice likely holds true for other alumni magazines as well. (Note that Haddock also edits the “Perspectives” essays, which are online only and open to all freelancers, not just Berkeley alumni; however, non-alums who wish to write for “Perspectives” do need pick a topic that includes some sort of connection to the university. Review “Perspectives” guidelines.)

3. Anthologies

Anthologies are approached one of two ways: open submissions or by invitation. Word of mouth is the best way to discover upcoming anthologies. Some publishers with ongoing series have websites with an official call for submissions (see Travelers’ Tales, The Her Stories Project and Chicken Soup for the Soul). Editors will occasionally announce a call for submissions on their blogs. Some anthologies will accept previously published essays.

Length: Varies

Pay: Usually $100-$500, but can be up to $2,000 depending on the advance paid for the book

One writer’s advice: Lori Gottlieb, a writer with 10 anthologies to her name and author of Marry Him: The Case for Settling for Mr. Good Enough, said that editors tend to be most interested in an unusual and nuanced take. “If the book is about, say, women’s relationship to money, they’re not going to want what readers see all the time in women’s magazines (‘I was afraid to ask for a raise at work,’ etc.). Anthologies tend to be a space where writers can be very intimate and personal and explore the topic in all of its complexity. Really think about the topic and what you have to say that you’ve never expressed to anybody, or that nobody has ever talked about but you wish they had. That’s the beauty of these collections, both for the contributor and the readers.”

4. The Bark

Dog lovers unite in this magazine that covers canine culture and publishes at least a couple of essays in each issue. Essays should convey essential truths about the human/dog relationship, ones in which the dog is the key focus rather than incidental to the story. Review submission guidelines.

Length: 1,200-1,500 words

Pay: Determined on an individual basis

Assigning editor: Claudia Kawczynska, CLAUDIA at THEBARK dot COM

Kawczynska’s advice: “It’s a good idea for the potential essayist to be familiar with The Bark’s voice and previous content.”

5. The Boston Globe — “My First Home” (in the “Address” section)

These personal essays share the trials and tribulations of buying or renting a home from first-time homeowners who live in Boston or have ties to the region. Past examples include a story by a woman in her mid-50s who became a homeowner for the first time when she purchased a fixer-upper by the sea, and another by a husband whose first home taught him about how to live as a newlywed.

Length: 600 words

Pay: Varies by placement

Assigning editor: Eileen Woods, EILEEN dot WOODS at GLOBE dot COM, but submissions should be sent to ADDRESS at GLOBE dot COM

Woods’ advice: “We are looking for poignancy, wit — not just a walk-through of what someone’s first home looked like.”

6. The Boston Globe Magazine — “Connections”

A Boston connection is not necessary, but essays for this column must offer a fresh perspective on a personal relationship, whether with a romantic partner, friend, family member or even an interesting exchange with a stranger. Past examples include an essay on the importance of saying hello, even to strangers; a volunteer’s developing friendship with a young orphan in Haiti; and a conservative’s decision to come out as Republican to his largely liberal friends.

Length: 650 words

Pay: $500

Assigning editor: Veronica Chao, VERONICA dot CHAO at GLOBE dot COM

Chao’s advice: “Please submit a completed draft rather than a pitch. Anonymous or pseudonymous bylines are not permitted at The Globe, nor is changing the names of people mentioned in the essay. Anyone you write about significantly in the essay must approve of your writing about him/her. We respond to an essay we want to publish within a month; we don’t respond to essays we won’t pursue.”

6. Brain, Child: The Magazine for Thinking Mothers — “Personal Essays”

This literary magazine is dedicated to the meatier issues of motherhood. Between its print, blog and online forums, it publishes 20 essays a month. “We have a twice-a-year special issue devoted to parents of teens,” said editor-in-chief Marcelle Soviero. In previous pieces, one mother explored her love and concern for her overweight baby; another wrote of her infertility treatments and subsequent adoption; and another talked about raising her children in Somalia.

Length: 800-4,000 words

Pay: $50-$500

Submission: Brain, Child: The magazine for Thinking Mothers are now under the Creative Nonfiction umbrella.

Click here for Submission Guidelines

Soviero’s advice: “We present voices of women of different ages, backgrounds and circumstances in order to provide our readers with new insights and perspectives on issues that matter to mothers. We look for a strong narrative voice with vivid scenes and liberal use of dialogue. We like essays that make the readers think or want to share/discuss the piece immediately. Every editor says it, but familiarity with the magazine, and our writer’s guidelines, really does help.”

7. Brain World— “The Last Word”

Intended for the general reader, Brain World is a magazine dedicated to the human brain. It publishes one personal essay in each of its four issues per year.

Length: 800-850 words

Pay: Varies, and depends on the writer/topic

Assigning editor: Liz Belilovskaya, BRAINWORLDMAGAZINE at GMAIL dot COM

Belilovskaya’s advice: “I’m seeking essays on any topic related to the brain. Past examples have included recovering from brain injury, how friends helped my mother’s Alzheimer’s, life with Tourette syndrome and hypnoses cures.”

8. BUST

BUST publishes personal essays and first-person reported articles in its features well. A past essay was by a woman who had a jewelry phobia. Writers should query first-person pieces and keep in mind that the magazine publishes bimonthly, so it might be a while before your pitch is reviewed or accepted.

Length: 2,500 words or less

Pay: Generally $100-$200 for features

Assigning editor: Emily Rems, EMILYREMS at BUST dot COM

Submission: submissions@bust.com

Editors’ advice: Please keep the tone of the magazine in mind; BUST is known for its frankness, but also its humor. Finding an inventive way to approach your subject will be much appreciated.

9. Coastal Living — “Coastal View”

This back-page essay is all about life on the water. In addition to spotlighting the Atlantic, Pacific and Gulf, the magazine seeks stories that tie into the Great Lakes, Hawaii, Alaska, coastal Canada and Mexico, and the Caribbean islands. A past example includes an essay by a wife (and mother) who rented a cottage by the sea for a solo retreat.

Length: 725 words

Pay: $1 a word

Assigning editor: Marisa Spyker, MARISA underscore SPYKER at TIMEINC dot COM

Editors’ advice: To pitch, submit at least a couple of paragraphs to provide a better idea of the topic.

10. Creative Nonfiction

Its motto: True stories, well told. And, according to its submission guidelines, “a typical issue of CNF contains at least one essay by a previously unpublished writer.” Although CNF occasionally runs themed issues, unthemed essays are welcome year-round.

Length: 4,500 words maximum

Pay: $50 flat fee, plus $10 per printed page

Submission: online submissions form ($3 convenience fee).

Editors’ advice: Essays accepted for publication in Creative Nonfiction undergo a fairly rigorous fact-checking process. To the extent your essay draws on research and/or reportage (and ideally, it should, to some degree), CNF editors will ask you to send documentation of your sources and to help with the fact-checking process. We do not require that citations be submitted with essays, but you may find it helpful to keep a file of your essay that includes footnotes and/or a bibliography.

10. Culture

This magazine is looking for essays with a cheesy connection (pun intended).

Length: 500 words

Pay: Determined on an individual basis

Assigning editor: Courtney Hollands, EDITOR at CULTURECHEESEMAG dot COM

Editors’ advice: We’re seeking personal, political, provocative or amusing essays related to cheese.

11. EatingWell — “Nourish”

“Nourish” essays should be stories from the heart that have to do with food and how food nourishes us in unexpected ways. It is a short essay with a broader message and shows how food connects us to others and to ourselves. Writers may send finished essays on spec.

Length: 600-800 words

Pay: Starts at roughly $1 a word

Assigning editor: Jessie Price, JESSIE dot PRICE at EATINGWELL dot COM

Editors’ advice: Think of this as a one-act play or short story: Who are the characters, what is the plot, what is the culminating scene? Ideally, the theme should tie to the season and in some way relate to our core areas of focus: food, health and sustainability. We have published a few over-the-transom pieces in the last five years, but do assign to new writers whose work we’ve seen elsewhere and admire.

Topics:

How to Pitch

Business Basics

Project Management Tips That Will Make You a Better Freelancer

Borrow key skills from project managers and keep your gigs rolling in

By Amanda Layman Low

@AmandaLaymanLow

4 min read • Originally published December 5, 2015 / Updated March 19, 2026

By Amanda Layman Low

@AmandaLaymanLow

4 min read • Originally published December 5, 2015 / Updated March 19, 2026

The more experienced I became as a freelance writer, the more I realized how little time I actually spent on writing. Sure, I expected to have to build a website, market myself and develop story ideas. But I felt a bit overwhelmed when it came to organizing my work, keeping track of deadlines and communicating with clients—in short, everything a project manager does.

After a brief stint as a salaried writer in a corporate environment and working closely with professional project managers, I saw how their skills could be applied to the freelance life. Here’s some insight on how freelancers can become better project managers, and drive more projects to completion while staying on budget.

Create (and stick to) a schedule.

There’s no need to track every moment of your day down to the minute, but it’s important to have a set work schedule. Show up at your computer around the same time every day, and stop working around the same time every day. Kimberly Fellman, creative project manager at BuzzFeed, recommends that freelancers who work from home get out of their home environment from time to time. “Don’t just work from the couch in your PJs,” she says—it can hurt your productivity. Following a routine like spending your mornings at a coffee shop or the library will get you in a consistent “work” state of mind.

But don’t try to wing it. Put due dates, scheduled calls and goals on a single calendar you can refer to frequently. Also, for the sake of convenience, structure your time by grouping similar tasks together, recommends freelance writer Kristi Waterworth. For instance, book all of your expert interviews on the same day.

Take advantage of organization tools.

Keeping track of short- and long-term tasks can be as simple as setting up a kanban board. “As cheesy as it sounds, I make goals and post them up so I can see them,” says Lindsay Arnold, a certified project manager and business analyst at Q1Media. Your kanban board can literally be a three-column chart on a whiteboard, where you stick Post-it notes based on their status: to do, working on and completed. “It allows you to see all your work and the [ability to physically move] tasks to ‘complete,’ which is so refreshing,” Arnold says.

Freelancers who prefer digital methods should consider which apps might help in their day-to-day work. Fellman likes to use TinyGrab to easily share screenshots of design projects with her collaborators (you could use it to get feedback from clients on drafts), and Teamweek, a scheduling tool that helps her see a visual map of ongoing projects.

It’s also essential to pick a cloud-storage service like Dropbox, Google Drive or OneDrive for your files, which is far safer than having them on your hard drive where they could get damaged or lost.

Remember all communications with your clients matter.

Great communication skills are imperative to being an effective project manager. After all, they could mean the difference between a one-time project and a long working relationship.

Now imagine you’re a key decision maker at a company and you’ve hired a writer to deliver content. Your inbox is frequently flooded with requests from all directions, and you’re working on multiple projects at once. Then you receive content from a writer that’s incomplete. The writer sends another email rambling on about his first mistake, and tries to send a new version. Finally, the writer sends another email with a file attachment—and the file is named “RKS#EJ0132=9.doc.” Can you imagine how frustrating this would be?

When communicating with the editor or agency that hired you, read over the body of your email several times before sending it. And get to the main point quickly. Arnold suggests paying special attention to the subject line of your emails and keeping it consistent so your email recipients can easily find your work. If you’re addressing many things in the email, include a bulleted or numbered list to cover one question or topic at a time.

Draft a scope-of-work document.

Sooner or later, every freelancer has that project—the one with 13 revisions, or the one that winds up taking 10 times as long to write as you expected, essentially bringing your income down below minimum wage. Keeping a writing project from getting out of scope is largely about preventive measures. Waterworth always makes sure to conduct a conference call before the start of her blogging projects. Then she works with clients to assemble very thorough instructions about each assignment. “Make sure everybody is in agreement that this is the way it’s going to go,” she says.

Fellman recommends creating a scope of work, or SOW, document. “It’s a wonderful way to protect yourself as a freelancer and help set expectations for everyone.” In the SOW—which acts like an unofficial contract—you’ll want to include at the very least:

A timeline
The project deliverables
The fee for work

It’s also important to ask lots of questions and be clear about payment procedures from the get-go. Fellman says asking questions like, “To whom should I submit a W-9?” or “Is payment via EFT an option?” shows you’re a business professional—one who expects to be paid on time.

Topics:

Business Basics, Go Freelance

Journalism Advice

7 Ways Writers Can Use Social Media to Build a Powerful Personal Brand

Here's how to make social networks work for you

By Alisha Tillery

@Nicole8151

Alisha Tillery is a freelance journalist, essayist, and PR agency director whose work spans culture, lifestyle, business, and women's issues. She has written for ESPN, ESSENCE, EBONY, and AARP, and brings 15 years of storytelling experience to her work with small businesses, nonprofits, and education clients.

6 min read • Originally published December 9, 2015 / Updated March 19, 2026

By Alisha Tillery

@Nicole8151

6 min read • Originally published December 9, 2015 / Updated March 19, 2026

In a short time, Britni Danielle, a Los Angeles-based author and freelance journalist, transitioned from part-time to full-time freelancer, penning stories for Essence magazine and online publications like the Guardian and xoJane. How did she snag assignments from publications on the East Coast and abroad? Along with her writing skills and work ethic, she used social media to build a strong personal brand. Online exposure of her work garnered stellar referrals from fellow writers and eventually led to requests from editors.

Now, more than ever, writers are taking their careers to the next level because of their solid personal brands. Their unique identities boost readership, business and attention from editors. Fusion editor at large Latoya Peterson, for one, is open to finding fresh talent through social media. “It’s very easy, as an editor, to fall back into the same pool [of writers] you always use. Social media not only allows you to find new writers, but also to figure out things that are trending or peaking.”

Here are a few tips on how you can raise the bar on your writing career via social media.

Establish your identity.

The first step to gaining the attention of readers and editors is telling them who you are, and how you’re different from other writers. That is your brand. Beth Sanders, a social media strategist based in the Greater Memphis area, says there’s no way around establishing one.

“I don’t think it’s a question of ‘Should I?’ The question is ‘How do I?'” she says. If you have a digital footprint (and who doesn’t these days?), you already have a brand. So it’s important to share accurate information and pay attention to small yet significant slipups like typos in your posts, which could make or break your brand. Establish your credibility early on, or your audience will do it for you.

Peterson says failure to maintain a positive online persona by “being very belligerent [or] intellectually dishonest on social media” has cost many writers jobs. It could also undermine both your reputation and that of your publication.

Decide how much of your life you’d like to share with your audience. Sanders, who discusses everything from writing to St. Louis Cardinals baseball on her Twitter account, says, ultimately, that is a decision writers must make for themselves. But a hint of personality can go a long way. “People want to do business with a real person and not just a cardboard cut-out,” she says.

Tighten up your profile bio.

Your bio is usually the first thing visitors read on your social media profile. Use this space to share your interests, who you’ve worked with and topics you cover. And make it memorable.

“One of the reasons I follow somebody back or decide to follow somebody’s work is because they have this witty profile — it’s intriguing,” explains Peterson. “It’s enough for me to want to click on it and know more about this person. And if I’m making a decision between a lot of writers, that might make the difference.”

Sanders suggests writing a brief bio, as well as a lengthy one, so your audience, especially editors, know exactly what they’re getting when they visit your social media sites.

Surf social media platforms daily for potential content.

The better your content is, the better your brand. Love it or hate it, social media has become a legitimate player as a news source, overtaking some traditional news outlets, so use it to your advantage. Scour social media platforms for current events that are aligned with your brand — and keep up with what editors are talking about on their pages.

Danielle admits that asking open-ended questions and sharing the latest issue of the day have been effective tactics for getting feedback and eliciting story ideas.

In fact, one story Danielle wrote about the online reaction over a photo of Sasha Obama and friends received over 100,000 page views the first day it was posted. “I get probably 75 percent, maybe more, of the things I end up writing about from some sort of media or social media conversation,” she says.

Engage with your audience in real time.

If using Facebook, Twitter or Instagram has become mundane, experiment with live-streaming apps like Periscope. Interact with your audience on camera to allow them to get an inside look at who you are and what kind of work you do. Follow editors and other writers to make new connections. Before you jump in head first, though, Sanders recommends doing your research.

“The first step is to figure out where your audience is, and you do that by hanging out [on various platforms] and listening,” she says. “If your audience is not on Periscope or even Twitter, that’s not where you need to focus your time.”

Other streaming apps like Meerkat and Blab have different features, such as streaming for groups or embedding capabilities, which might garner more reach. Adds Sanders, “I would recommend trying everything at least once, knowing about it and evaluating how effective it’s going to be in reaching your audience.”

Show your work.

You’ve mastered the art of navigating social media and engaging your audience, but this doesn’t matter as much if you don’t have content to share. Peterson says when writers apply for jobs, one of the first steps editors take is to look at their social media profiles to see their latest work and how they interact with others online.

“[Social media] allows people to discover you. It allows people to serve you. It allows people to have more of a dialogue around your work, but at the same time, it also acts as almost a resume for an employer,” Peterson says. “Most of my friends who are editors will say the same thing.”

Peterson adds that writers should be using the pinning feature such as on Twitter, which allows you to pin a stagnant tweet to the top of your timeline, to showcase links to your most recent work. “For the most part, your content is what’s going to speak the loudest,” she says. “Your content — 100 percent — is always king no matter what platform you’re on.”

Share content that aligns with yours.

Remember, a core principle of social media engagement is to give as much as you take in shares, likes and shout-outs. Simply put, it’s not all about you.

“If you’re on social media, it can’t always be about sharing your links to your things,” Danielle says. “You have to talk about things that people care about that aren’t [about] you.” Make an effort to strategically connect with (read: do not pitch) editors and other writers of note online. Rather than bombarding them with direct messages or comments with links to your writing, engage in a conversations about their latest projects if you’re a fan their work.

Be consistent on every social media platform.

From your social media handles to the frequency of posts and interaction, consistency counts. If you’re savvy, you probably have more than one social media account. Make sure each of them have the same or similar names so your audience and editors know where to find you.

Using social media regularly counts for a lot in building your brand. “The only thing I would do is caution people against abandoning their social profiles,” Peterson warns. “It’s almost better to not have a page at all, instead of looking like you’re not paying attention to the technology or a part of the community there.”

Topics:

Go Freelance, Journalism Advice

Skills & Expertise

Ask MB: What Makes a Good Magazine Story Pitch?

Check these 12 tips before starting your story

By Celeste Mitchell

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

3 min read • Originally published December 21, 2015 / Updated March 19, 2026

By Celeste Mitchell

3 min read • Originally published December 21, 2015 / Updated March 19, 2026

Regardless of how many years you’ve been in the magazine biz, there is one thing that never seems to change: Whenever you pitch a story idea, it’s impossible to predict whether an editor will jump at your idea or pass on it.

And, sadly, all writers are in the same boat; veteran writers are often no better at hedging their bets than fledgling reporters who are sending pitches for the first time.

Part of what contributes to the mystery, of course, has little to do with us. Timing plays a major role. An editor will often turn down a perfect story idea because a similar piece is waiting in inventory to be scheduled for an upcoming issue. Or it could be that the magazine recently published an article on your topic and is therefore unable to cover it again until years pass—if ever. These variables are beyond any writer’s control.

But there is something you can—and must do—to improve your chances for success: Make sure you deliver a solid story idea.

It may sound simple, but it is often hard to tell the difference between an idea that rocks and one that flops. And what’s a good idea? To find out, we turned to a friend of Mediabistro, an accomplished magazine editor who’d just as soon remain nameless, to reveal the must-have ingredients for a quality piece of journalism. If you can nail even a few of these essential elements, and you still get a rejection letter, then it’s your editor’s loss!

According to our friend, a great magazine story:

1. Is about someone appealing or intriguing or remarkable or abominable, someone to whom aggressive adjectives can be applied or someone caught up in circumstances that fit these adjectives.

2. Relies on tension, conflict and drama to move the story along at a steady pace, without bizarre detours which may in themselves be interesting but which do not contribute to an uninterrupted narration of the story.

3. Has a beginning, middle and end—in that order, preferably.

4. Tells you something new and unexpected, or takes a totally fresh new look at something familiar.

5. Has compelling anecdotes that illustrate specific points, but do so with some subtlety so the reader will not feel beaten upside the head.

6. Includes carefully chosen quotes that reveal the subject’s personality and perspective, quotes that might be cleaned up for grammar and clarity but never to change meaning or intent.

7. Leaves no unanswered questions and never strays off course with tangential musings from the writer and irrelevant anecdotes or quotes.

8. Is easy to follow and doesn’t confuse the reader, meaning that flashbacks and flash forwards should be employed with caution.

9. Evokes an honest emotional response, not a manipulated one—so resist the temptation to twist your story a tad to make sure readers get your message.

10. Has a resolution—a triumphant one is preferred, but if it’s a downer both prepare the reader for it as you go along and make sure you personally can live with that kind of ending.

11. Wraps with a kicker that clings to the reader’s memory, whether clever or noble or heartrending or even funny.

12. Is factually correct, not only for your sake as a writer of integrity but also for the sake of our profession at large which has had more than enough reportorial fiction in 2003.

Topics:

Climb the Ladder, Skills & Expertise

Advice From the Pros

4 Tips for Landing an Ad Agency Gig Using Snapchat

A recruiter dishes on dos and don'ts

By Lauren Johnson

2 min read • Originally published December 21, 2015 / Updated March 19, 2026

By Lauren Johnson

2 min read • Originally published December 21, 2015 / Updated March 19, 2026

Snapchat video views have tripled since May and now total 6 billion every day, according to a Financial Times story. The report only solidifies the notion that the messaging app is the hottest thing going on among marketers.

So if you want to land an ad agency gig, the language of “snaps” is really good to know at this juncture in digital-media history. What better way of communicating your Snapchat expertise to your prospective employer than via the mobile app itself?

We chatted with Alan Cutter, CEO of recruitment firm AC Lion, whose clients include WPP and Horizon Media. Cutter had some useful advice on how to make every post count:

1. There is no chance for a second impression. “This isn’t iMovie or a text resume that you can edit, perfecting each shot or word,” says Cutter. “Have a well-thought-out blueprint.”

2. Keep it visual. Make a Snapchat Story by taking pictures of the work you’re most proud of, to show employers what you can do. “If you have a project you worked on, a deck or a clip, use it,” says Cutter. “Show your best slide, your biggest win.”

3. Sweat the small stuff. Little details, like paying attention to the background of a video, are crucial, says Cutter. “Is the job part of a team? Have other people in there. Like to work in a coffee shop? Film it in there.”

4. Do your research. Cutter recommends that job seekers snoop around on an agency’s other social channels to get a feel for the place before sending a snap. “Those people already have what you want—a job,” he says. “Showcase yourself fitting in to the company, contributing to their success.”

Topics:

Get Hired, Networking, Uncategorized

Managing

7 Tips for Managing an Employee Who’s Significantly Older Than You

How to strike a balance that works for both sides

By Jenell Talley

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

2 min read • Originally published December 27, 2015 / Updated March 19, 2026

By Jenell Talley

2 min read • Originally published December 27, 2015 / Updated March 19, 2026

The younger-boss dynamic is one that’s becoming more and more commonplace, especially as entrepreneurial millennials are rising from the ranks at warp speed.

When managing someone who is 10 to 20 or more years older than you, just remember: “You’re on the same team, and there are things each of you is going to learn from the other,” says Shani Hilton, executive editor of news at BuzzFeed. At 30, Hilton knows a thing or two about managing older employees, and after several years at the company, she’s as buoyant as ever about her gig and everything that comes with it. “I think the only real challenge is to create a dynamic where we’re truly in a give-and-take relationship.” Difficult? Maybe. Doable? Definitely. Use these tips to help you avoid potential missteps and get the most out of your older employees.

1. Be authoritative but not authoritarian.

You aren’t helming a dictatorship. Researchers find that workers with autonomy report higher rates of job satisfaction. Seasoned workers have been in the workforce for decades. They’ve earned the right to have a say in how they do their job.

2. Ask questions.

You’re the boss, but that doesn’t mean you know more than your employees. They’ve been at this (a lot) longer than you, and they have years of industry- or company-specific knowledge. Use that.

3. Involve employees in the decision-making process.

Treat seasoned workers like the priceless assets they are. Show them their perspective and experience are valued.

4. Be open to feedback.

This isn’t older employees’ first rodeo, so they have insight you may not. They were building digital brands while you were finishing Integrated Marketing 101. Take advantage of their expertise.

5. Get to know your employees.

Older workers often feel overlooked amidst a sea of millennials. You don’t have to be best buds, but talk to your workers. Are they married? Do they have kids? Do they skydive?

6. Encourage continued professional growth.

Find out your employees’ goals and offer support in achieving them. Maybe the print magazine’s managing editor would rather work on Web content. Recommend a digital journalism course—and get the company to pay for it!

7. Keep an open mind.

“What I’ve learned,” says Hilton, “is age has very little to do with whether someone does well in this environment: 22-year-olds can be overly cautious sticks in the mud, and 52-year-olds can be wonderfully experimental.”

Topics:

Climb the Ladder, Managing, Skills & Expertise

Networking

No-Cringe Networking: How to Job Hunt the Right Way

Tactful methods to connect with media pros during your job search

By Ellen Gordon Reeves

7 min read • Originally published December 28, 2015 / Updated March 19, 2026

By Ellen Gordon Reeves

7 min read • Originally published December 28, 2015 / Updated March 19, 2026

When I talk to people of all ages about “networking,” they have valid reasons for bristling. They are shy. They fear rejection. But with networking being a key player in you scoring that dream job, you need to know how to reach out the right way.

Because we are all in the business of communicating, and thanks to the ease of the Internet, a faux pas can be sent into instant orbit. But the same button can send your tactful and legitimate query to scores of people who might really help you. Let’s take a look at a few tactics for networking, the right way.

Stop looking for a job and start looking for a person

This is my mantra: Stop looking for a job and start looking for a person. The right person will lead you to the right job. This applies whether you’re looking for a job or just personal and professional connections in general.

But you have to help people help you, and this is where many people bog down. I am a big fan of what I call the “inside informational interview,” a chance to talk with people within the company or organization you want to work for.

Since more than 80 percent of all jobs reside in what’s known as the “hidden job market,” you need to get inside a place and find out what’s really going on in terms of openings, their needs, future plans and so on.

Stop sending your résumé hurtling blindly into the black hole of cyberspace. Start talking to people.

Line up inside informational interviews

So how do you set up inside informational interviews, and where do you look to set them up? There are three resources I think are often overlooked, basically because they’re so obvious that they become invisible.

1. People where you work or freelance now. Once you’ve done anything for anyone in a company, even as a freelancer, intern or volunteer, you are an “insider” and you need to think of yourself that way—without being presumptuous. Make the most of that status in seeking new opportunities.

Describe what you’re looking for as specifically as possible (“I want to pitch a culinary travel feature about Japan since I’m going there this summer” or “I’m exploring the managing editorial side of publishing”) and ask your existing company contact for an introduction and whether or not you may use his/her name.

Ask for the name, email address and phone number of people you should talk to or ask whether your contact would be willing to forward a query from you, whether it’s a pitch or a request for an informational interview. Keep in touch with people at places you used to work and let them know what you’re looking for.

2. Your references. References are one of the most underutilized sources of leads around. You should always be in touch with your references and should be keeping them up to date on your search. Presumably, they already know and love you.

Don’t just ask them for a letter of recommendation or permission to have someone contact them for a verbal recommendation; ask for leads and contacts! Professors, particularly those who have published books, are great contacts, as well. They have publishers, editors and increasingly, agents—or know colleagues who do.

3. Your college/graduate school and high school alumni associations, career services and periodicals. These offices and associations range from the highly structured to informal or nonexistent; private institutions in particular place great emphasis on maintaining these kind of networks.

You can call up the alumni association, career or magazine office, explain that you’re interested in talking with alumni in your industry or area and see what they come up with.

Some schools have online databases or alumni magazines, some with “class notes” sections. Read these to find names of like-minded alumni and find out if they’re willing to be contacted and what their preferred mode of communication is.

Your class may have regional officers or representatives; reach out to them. The people who volunteer to serve in these roles are generally connectors. Attend local gatherings or reunion events.

The rules are the same whether you’re reaching out in person or virtually: Be respectful of people’s time, respect their right to say “no” to a request and don’t take it personally (they don’t know you!) if they do. Be clear about what you’re asking for, and avoid these surefire ways to turn people off.

Don’t be the person people want to flee from

After a party I hosted once, several friends told me that they had been accosted by an acquaintance trying to start a new business.

She had invited herself, cornered my guests and given them a hard sell in an invasive way. She had no sense of boundaries. Yes, social gatherings are obviously a way to meet new people, but they are not business meetings or professional networking events!

Yes, you want to meet as many people as possible, thus increasing your odds of landing in the right place. But know when to back off. Be prepared when you attend a social function but understand the limits of the situation.

Have business cards (yes, even before you’re in business—especially before you’re in business—you must have a card with your name and contact information) and have your elevator pitch ready, but don’t launch into a monologue at a social gathering.

Ask the person you’re talking with for guidance: “I’d love to tell you more. May I be in touch? What’s best for you?” Offer your card and ask if the person would like you to be in touch (in which case you need his/her contact information) or if he/she prefers to contact you at their convenience.

If you don’t hear from them within a week, send a brief reminder email (“Great to meet you at John’s birthday party last week; let me know if you have time to talk in the next week or so.”)

If you hear nothing, let it go. You never know what’s going on in people’s lives or minds.

Avoid artificial dissemination

A few weeks ago, at a cocktail party explicitly billed as a networking event for people in media, arts and entertainment, a guy came up to me, said “I’m Charlie” and stuck out his business card. That was it.

I had been talking with a friend; we stopped and I asked what business he was in. It turned out that in fact, we all had interests in the education arena, but after a few moments of conversation, he ran off.

He never once said what he was interested in or what he was looking for, did not describe his business or ask us any questions.

I guess he had been told to put his card in the hands of as many people as possible, but his Captain Literal interpretation was ludicrous. This is what I call artificial dissemination, and I don’t recommend it. His approach was tactless and useless.

In sum, don’t approach other people in a way you wouldn’t want to be approached. It gets really clear and simple when you think about it this way. Help people help you. When you’re reaching out, put your stock in The Golden Rule; it’s one asset that never loses its value.

The do’s and don’ts of helping people help you:

Don’t take people’s time for granted. Be up front and specific: “I’d like to talk with you about…” Be prepared for all encounters.
Don’t tell people “I’ll do anything” or “I’m interested in everything.” They can’t help you without specific guidelines about what you want. You are not being flexible; you are being naïve. I’m willing to talk to you and open my Rolodex but I need parameters: specific jobs, industries, geographical areas. Help me help you!
Do thank people who help you. In some cases, a meal or drink or gift is appropriate. Thank both the person you speak with and the person who makes the introduction.
Do keep your intermediaries in the loop; if you’re not going to follow up on a lead, let them know. If offered a contact you won’t use, decline politely.
Don’t pretend you’ll follow up if you know you won’t. “You know, I don’t think I should bother him at this point, but thanks for the lead—and I’ll keep that in mind.”

Topics:

Climb the Ladder, Get a Media Job, Networking

Figure out what you do best and where you could use some help.

Consider how a partnership could help grow your business.

Find the right subcontractor for your needs.

Create (and stick to) a schedule.

Remember all communications with your clients matter.

Draft a scope-of-work document.

Establish your identity.

Tighten up your profile bio.

Surf social media platforms daily for potential content.

Engage with your audience in real time.

Show your work.

Share content that aligns with yours.

Be consistent on every social media platform.

According to our friend, a great magazine story:

1. Be authoritative but not authoritarian.

2. Ask questions.

3. Involve employees in the decision-making process.

4. Be open to feedback.

5. Get to know your employees.

6. Encourage continued professional growth.

7. Keep an open mind.

Stop looking for a job and start looking for a person

Line up inside informational interviews

Don’t be the person people want to flee from

Avoid artificial dissemination

The do’s and don’ts of helping people help you:

Andrey Abrosimov