7 Essential Tips Every Aspiring Journalist Needs to Know

6 min read • Originally published August 5, 2015 / Updated March 19, 2026

6 min read • Originally published August 5, 2015 / Updated March 19, 2026

Gone are the days of His Girl Friday when journalists only needed a bold personality, a notepad and a well-cut suit in order to make it. In the 21st century, writers need to master entirely new skillsets just so they can compete. With this in mind, we asked a few veteran journalists about the essential tools that every aspiring writer should keep under his or her belt.

Once you’ve checked off everything on this list, you’ll be well on your way to earning that reporter’s hat.

1. Hone your digital skills.

Writing and editing skills are obviously a must in the journalism industry. Yet having those abilities isn’t going to get you to stand out for employers. You need to master the digital aspects of the trade as well. A firm understanding of WordPress, Photoshop and various social media platforms will ensure that you’re more marketable as a writer.

“It’s important to learn the basics of video and audio editing and photography,” says Andrew Bowen, a freelance radio journalist. “Every journalist has to be [experienced in] multimedia.”

If the idea of teaching yourself how to master a slew of different programs is intimidating, then you might want to consider taking an online training program. Mediabistro offers courses that can help you hone your digital media skills. And if you need to zero in on a specific platform, such as Photoshop, you can also find beginner-level tutorials on YouTube.

2. Find your niche.

The term “journalist” covers a wide range of jobs. To develop your beat, find a topic you’re qualified to cover, and then write about it as much as you can. Whether you’re interested in finance, music or the environment, becoming an expert in your field will give you the credentials that will make media companies interested in your work.

As Bowen explains, “I think it’s important for journalists to figure out what kind of stories they’re drawn to and interested in. When you’re interviewing for a job, think of your career like a story you’re writing—with a beginning, a middle and an end—and a theme that connects it all.”

This list, “101 Niches to Write About,” is a great place to start figuring out what you might want your specialty to be.

3. Set up a website.

There’s no getting around it. Journalists these days need an online space to highlight their work. As soon as you can, set up a virtual portfolio. Once it’s finished, link to it in all of your professional email correspondence and on your social media accounts. Your pitches will gain a whole new level of credibility when an editor or employer can click on a link and see that you’ve amassed an impressive amount of editorial clips.

For those of you who want to make your portfolio as visually appealing as possible, websites like Pressfolios and Clippings.me are great places to start.

Still compiling those clips? Consider joining Mediabistro’s Freelance Marketplace, a database where editors and managers looking to assign short or long-term freelance projects can check out your profile and immediately start a dialogue.

Bonus points for platforms like Contently, which connects to your social media accounts and automatically pulls your published Web articles into your portfolio, as well as the number of shares, tweets and Facebook likes your work has received. (Full disclosure: I am a writer for Contently.) These days, publishers love journalists with an online following, especially those who frequently share with followers links to their work (and, thus, to the publishers’ site).

4. Learn a different language.

Knowing at least one other language will do wonders to set you apart from your competition and help you interact with your sources on a deeper level.

Bowen has experienced this firsthand: “Even when you’re pursuing a source who speaks fluent English, approaching them in their [native language] can be disarming, and can open up new levels of communication,” Bowen says. “And being able to read press coverage in another language can also help you approach a topic from a different angle.”

Journalist Caroline Mortimer has had a similar experience to Bowen, which she explains on the Wannabe Hacks blog: “I am a researcher at a TV company at the moment, working on a documentary…I make inquiries and conduct interviews in slightly nervous French and broken Italian but I am able to reach people I would not have been able to if I had just shouted down the phone in English.”

5. Be a good communicator…

Like it or not, journalism is an art that involves a lot of interaction with other people. If this idea alone makes you uncomfortable, then you might want to consider a different career path. On the other hand, there are a variety of ways to improve your people skills.

According to CNN International and CNN.com reporter Susanna Capelouto, learning how to communicate—to anyone—is one of the most crucial skills a journalist can have. “Be friendly when you talk to receptionists, secretaries, PR flacks or any gatekeeper who is your ticket to getting that interview you need for your story,” Capelouto says. “Show respect and call them by their name.”

On the flip side, journalists should be comfortable prodding their sources for more information and viewing issues from multiple perspectives. “Be willing to challenge yourself to understand and analyze arguments on all sides of issues—especially the most polarizing ones,” explains Patricia Phalen, associate professor of media and public affairs at George Washington University.

6. And a good listener.

While it’s a journalist’s job to ask the tough questions, listening is just as important in this role. After all, how else are you supposed to get people to open up to you? Sometimes a listening ear is all someone needs to feel comfortable enough to give you the information you’re seeking.

“This is particularly true for working in the one-dimensional world of audio, where we constantly look for that emotional soundbite,” Capelouto says. “It’s not just what people say, but how they say it. If you listen carefully, you will be able to get what we still call ‘really good tape.'”

7. Don’t take rejection personally.

Having thick skin is another essential tool of a successful journalist, as is not letting negative feedback or constructive criticism deter you.

Radio producer Jess Engebretson stated it best: “As an aspiring journalist, you will be rejected a lot. Your pitches, your job applications, your grant applications—most of the time, they will be rejected. Remember two things.

One, the rejection may have nothing to do with the quality of your work or your journalistic potential. The publication may have run a similar story two weeks ago, or have funded a similar grant proposal last year. Two, even if the rejection does have to do with the quality of your work, don’t despair.

One person’s judgment of a particular piece of your work is not a referendum on your worth as a human being. The skills you need can be learned. Ask for feedback. Listen to it. Keep trying.”

With this in mind, get out there, future journalists!

Topics:

Go Freelance, Journalism Advice

Productivity

5 Podcasts Every Writer Should Be Listening To

Hone skills, find inspiration by adding these podcasts to your playlist

5 min read • Originally published August 13, 2015 / Updated March 19, 2026

5 min read • Originally published August 13, 2015 / Updated March 19, 2026

If you’re a freelance writer or beat reporter, you likely spend a lot of time on the go, either meeting with new clients or chasing your next assignment. You listen to music in the car, read a book on the subway and maybe check your email while you wait for your Uber ride. But have you considered downloading some podcasts that can help make you a better writer? If you haven’t hopped on the podcast train yet, it’s about time you did.

Chicago-based reporter Robin Amer says she feels podcasts help emphasize the importance of keeping it simple. “Radio [personalities] and podcasters have to be good at explaining things in an easy-to-process language,” Amer says. “Unlike with print, the listener only has one chance to understand what you’re talking about, so you have to make it simple right from the start. Having that mentality helps me communicate more effectively in print, too.”

Public radio journalist Stacy Bond, who is currently developing her own podcast for writers, agrees. “Podcasts can be entertaining companions for writers who have unusual schedules or spend a great deal of time alone,” Bond says. “They’re also a great way to learn. You can tune into a podcast and listen to how fellow writers approach a problem or brush up on a topic you plan to write about.”

To give you a head start, here are five of the best podcasts for writers we’ve found.

1. Longform Podcast
Description: The Longform Podcast, which is produced by the same people who run long-form platform The Atavist, is among Amer’s personal favorites. The show, says Amer, includes interviews with “everyone from Buzz Bissinger to Masha Gessen to Emily Bazelon, and each interview delves into process and the economics of their coverage in a way I find very useful and informative.”
Must-hear episode: Episode #142 features New York Times reporter Sarah Maslin Nir. She explains, step by step, how she broke and reported the stories of abused nail salon workers in New York City.
Excerpt: “The idea of a discount luxury is an oxymoron. And it’s an oxymoron for a reason: because someone is bearing the cost of that discount. In nail salons it’s always the person doing your nails, my investigation found. That has put a new lens on the world for me.”

2. Writing Excuses
Description: Writing Excuses is one of the first and longest-running podcasts about writing. It launched in 2008 and is in its 11th season. Yet you can still power through the entire series in a relatively short time. Episodes are just long enough to give listeners solid information in an entertaining format. To get an idea of the voice, the podcast’s tongue-in-cheek tagline is: “Fifteen minutes long, because you’re in a hurry, and we’re not that smart.”
Must-hear episode: Season 9, Episode 47: Conversation With a Bookseller. In this episode, guest Sara Glassman, a bookseller and reviewer, advises on query letters, book covers, book signings and how to make your first page stand out to retailers. This is an important listen for writers in need of ways to market their final product.
Excerpt: “For self-published authors, being able to engage with the customers [in a bookstore] and say, ‘Hi, would you like to take a look at my book’ or ‘How are you doing today?’ is great. But don’t say, ‘Do you want to buy my book?”

3. The Writing Show
Description: This pod ended in 2012, but audio is forever! Hosted by Paula Berinstein, The Writing Show covers a wide range of subjects that are of interest to writers, such as presenting yourself online and overcoming bad habits like procrastination. While the podcast is no longer releasing new episodes, the old shows are still highly relevant.
Must-hear episode: The Secret Rules of Hollywood Screenwriting with screenplay consultant Michele Wallerstein is this podcast’s most popular episode, and with good reason. The show debunks the myth that it’s impossible to get your script read in Hollywood and explains how to get your work into the right hands.
Excerpt: “You have to continue to be actively involved in pushing your own career, forever, as a writer… You have to be writing another spec screenplay. Otherwise, you get very cold, very fast. You fall right off the hot list. So, in terms of proving yourself, [have] new ideas to pitch, consistently [write] new material [and come up] with new ideas that you talk to your agent about.”

4. I Should Be Writing
Description: This podcast is fantastic because it focuses on the journey of a writer from amateur to professional. Consequently, I Should Be Writing (ISBW) has the entertainment value of a storytelling podcast, combined with the hard info of an interview-based show. Even better, it’s hosted by author Mur Lafferty, winner of the 2013 John W. Campbell Award for Best New Writer.
Must-hear episode: Stop Kicking Your Own Ass features literary agent and author Jen Udden, who gives writers the kind of pep talk we need to hear every once in a while—along the lines of, “You’re not a worthless pile of writer garbage. You can do this!”
Excerpt: “If you’re not writing, you’re not writing for a reason. Find the reason and figure out how to get around it. Either write at a different time or write a different part of your story. Write when the people in your house are asleep. Write when they’re gone. Write on the weekends. There are so many options that exist beyond kicking your own ass.”

5. The Dead Robots’ Society Podcast
Description: The Dead Robots’ Society was created by Justin Macumber to offer advice and support to other aspiring writers. In fact, it was partially inspired by Lafferty’s I Should Be Writing podcast (see above). The ultimate goal of the podcast, according to its mission statement, is to get writers to “the promised land of publication.”
Must-hear episode: Being Good At Being Bad focuses on how important it is for writers to create great antagonists in fiction writing.
Excerpt: “You have far more time in terms of percentage of your story to develop your hero when your hero is struggling against overwhelming odds that are faceless; whereas, when you have fully developed villains the story becomes less about the hero and more about the relationship between the hero and the villain. It’s not that it’s a more difficult story to write, as much as it’s a different set of mental gears that you have to engage as a writer.”

Go ahead, make your commute more productive by bypassing the streaming music for once in favor of one or more of these podcasts. Who knows, maybe you’ll think of an idea for your next great novel while sitting in traffic tomorrow!

Topics:

Be Inspired, Productivity

Productivity

8 Blogs Every Media Professional Should Follow Right Now

Bookmark these blogs to be in the know

By Corinne Grinapol

@Corinneavital

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

4 min read • Originally published August 27, 2015 / Updated March 19, 2026

By Corinne Grinapol

@Corinneavital

4 min read • Originally published August 27, 2015 / Updated March 19, 2026

It used to be that blogs weren’t taken seriously, until it was revealed that what was once viewed as pet projects at best were really obsessively curated, regularly updated hits of information vital to professionals. By choosing to create content for specialized audiences, blogs can focus on and reveal information that may be considered too obscure for publications that cater to a general audience. For industry professionals, blogs are a crucial component that ensures professionals are always informed and always learning.

This is the premise behind the Adweek Blog Network (which is part of Mediabistro Holdings) and its nine specialty blogs, including TVNewser and SocialTimes, covering every media industry from TV and publishing to public relations and advertising. But not all blogs come so conveniently packaged. For the rest, we’ve done the legwork for you. Below you’ll find a selection of blogs that will help you stay clued in without the time suck that is sorting through the digital age’s ever-growing pile of data.

PressThink

The PressThink blog has been run since 2003 by Jay Rosen, a professor of journalism at New York University and director of the school’s Studio 20 program. Rosen’s blog gives media professionals a chance to step outside of the frenetic day to day of working within media and contemplate the nature of the beast. Long, well-argued and well-thought-out posts let readers contemplate the business and practice of journalism—where it’s headed and whether that is the direction it should be taking. Added bonus: the comments section is full of readers rather than trolls, and is a robust debate in and of itself.

Romenesko

When Jim Romenesko recently announced his “retirement,” fans breathed a collective sigh of relief at his emphasis on the quotation marks he placed on the word in making that announcement. Though blogging at a slower pace than before, Romenesko’s posts are not to be missed, whether it’s a quirky headline mishap or an analysis of the state of the newspaper industry.

Poynter MediaWire

A Romenesko spinoff, Poynter’s MediaWire is one blog that doesn’t miss a beat. From early in the morning, MediaWire tracks the latest developments in media news, including media gossip, the media business and the current media research.

The Buttry Diary

Think of Steve Buttry‘s blog as a how-to for surviving and thriving in a digital-first world. And with 40 years in media, including a stint as the digital transformation editor at Digital First Media, and as an innovation researcher and trainer at the American Press Institute, Buttry knows his subject well. This is the place for deep dives on the business of media companies and best practices for the industry’s professionals.

Dylan Byers on Media

Since this scoop-heavy blog’s home is on Politico, readers can expect a lot of context-rich posts that touch on both the political and media worlds. But politics is far from the blog’s sole focus. Dylan Byers and Hadas Gold tackle major stories centered on publications and media organizations throughout the country.

Adfreak

While so many blogs from the early aughts were born as indie blogs and later purchased by larger media companies or turned into larger operations themselves, the 11-year-old AdFreak blog belonged to Adweek (a Mediabistro Holdings publication) from its inception, the brainchild of a group of Adweek employees. Check in with this blog to catch up on which shops are creating what, and what the spots reveal about culture and society in the United States and around the world.

Adland

Åsk Wäppling created Adland in 1996, ancient times when it comes to the Internet, but this blog is no relic. By establishing herself early on, Wäppling cemented Adland’s reputation as an authority/clearinghouse on all things advertising, from print to digital to television campaigns. The content of Adland’s posts show a similar breadth, touching on issues impacting the profession as well showcasing its creations.

TechCrunch

Guide to all things Silicon Valley and tech startups at large, this blog, like so many before and since, began as a side interest of entrepreneur Michael Arrington, and ended up as the place technophiles go for breaking news. If you’re searching for the next thing, chances are you’ll find this blog has it covered.

Topics:

Be Inspired, Productivity

How to Pitch NYMag.com: An Insider’s Guide for Freelancers

Craft witty pieces for Big Apple denizens and beyond.

By Janelle Harris

@thegirlcanwrite

Janelle Harris is a multimedia producer, director, and founder of Harris Two Productions with decades of experience in non-fiction storytelling for networks including Bravo, Discovery, and A&E. A Howard University graduate, she specializes in amplifying diverse voices across television, film, and digital media.

4 min read • Originally published October 12, 2015 / Updated March 19, 2026

By Janelle Harris

@thegirlcanwrite

4 min read • Originally published October 12, 2015 / Updated March 19, 2026

Unique monthly visitors: 22 million

Background: The intimate dance between politics and fashion, entertainment and sports, and news and culture is performed on the streets of the Big Apple every moment of every day, and the choreography is chronicled on the five blogs that make up NYMag.com. Like its print sibling, the online home of New York magazine harvests the goings-on, people of note, emerging trends and things to know around the five boroughs and their collective for readers’ information. While the site’s name suggests a focus on the city and its more than eight million residents, its coverage actually spans the rest of the country and the world at large.

Because one medium informs the other in the New York media enterprise, there’s interplay between what goes into the magazine and what goes on the website. “The voice and the sensibility are pretty key to what New York is and it’s shared across the brand,” said Jebediah Reed, deputy editor of the site. “In that, we’re always interested in smart perspectives on the news and stories that bring valuable information to the reader, whether that’s reporting or analytical writing or noticing something that nobody has noticed before.”

Mainly, he added, “we’re looking for a smart, new idea or perspective on the news that really starts conversation.” With more than 150 posts a day, the site is able to dig voraciously into the details of news and pop culture in a way that its print iteration can’t. “We’re obviously much more responsive to real-time events. The print side publishes every two weeks, and we publish essentially around the clock. We are built around responding to the news quickly and more deeply, too.” That means opportunity aplenty for freelancers with the right touch.

What to pitch: With so much new content flying around as part of a daily average, Reed and his team of editors are interested in receiving on-point pitches across all of blogs: Vulture, which houses all things entertainment; The Cut, where fashion lives; Daily Intelligencer, the news hub; and Grub Street, the home of food stories. Science of Us, which focuses on social science and human behavior, is a new addition to the NYMag.com family of sites. “It’s the news through the lens of human psychology and academic research. They’re fun, why-do-people-act-the-way-they-act kind of stories,” Reed added. Every topical area gets the same smart, witty treatment — the signature of the NYMag.com brand.

Each blog makes fair use of freelancers, some more than others, but Vulture in particular is ever-expanding and is therefore a hotbed of content as more posts are published more frequently. Editor Gilbert Cruz is looking for interviews, entertainment news, TV recaps, music reviews and pieces on books, art and Big Apple-centric theater. Fashionistas can also take heart: The Cut is scheduled to expand, offering even more coverage of the world of wearable fabulousness. It now features lush photography alongside editorial, broken into five distinct sections: “Fashions,” “Beauty,” “Goods,” “Fame” and “Love & War.”

As a general rule, Reed suggested, “a freelance pitch should always bring something fresh to the table, something you have that other publications don’t and writers haven’t said or reported yet. Any pitch that does that, that brings something valuable and smart to the editor’s attention, is a good pitch.” Everything on the family of sites if pitchable and, with so many packages running at any given time, there’s a chance to not only be published, but also build a relationship with editors if your ideas are on point. (So, basically, make sure your ideas are on point.)

What not to pitch: Study what NYMag.com has recently covered and don’t suggest a rerun of what’s already been written. Duplicated ideas show editors that you aren’t paying attention. The site also has a huge staff of Web writers who cover their respective beats very well, so your story ideas need to stand out from what they’re already doing.

Percentage freelance-written content: Varies from blog to blog, but it hovers around 20 percent
Percentage freelance pitches accepted: It’s tough to say because of the autonomy of each blog, but Reed assured that freelancers are frequent and valuable contributors.

Etiquette: Each blog has its own editor, so make sure you’re pitching to the right person. Present an idea in a clear, succinct way but never, ever pitch by phone. Follow up within a week if you haven’t gotten a yay or nay.

Lead time: Varies based on the newsiness of the proposed story, but can range from overnight to a few days
Pay rate: $75 and up
Payment schedule: On publication
Rights purchased: Exclusive online and print rights, and exclusive right to license for syndication with revenue share

Contact info:
NYMag.com
75 Varick Street
New York, NY, 10013
(212) 508-0700
Twitter handle: @NYMag |Facebook

Direct pitches to:
For Vulture, senior editor David Marchese or Gilbert Cruz (movies and books): DAVID dot MARCHESE at NYMAG dot COM or
GILBERT dot CRUZ at NYMAG dot COM
For The Cut, editor Stella Bugbee: STELLA dot BUGBEE at NYMAG dot COM
For Grub Street, senior editor Alan Sytsma: ALAN dot SYTSMA at NYMAG dot COM
For Science of Us, senior editor Jesse Singal: JESSE dot SINGAL at NYMAG dot COM
For Daily Intelligencer, Deputy Editor Jebediah Reed: JEBEDIAH dot REED at NYMAG dot COM

[EDITOR’S NOTE: Though we’ve updated this article recently, the speed at which things move in media means things may have already changed since then. Please email us if you notice any outdated info.]

Topics:

Your Complete Guide to Pitching Travel Publications

Here are nine markets that want your stories from around the globe

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 November 13, 2015 / Updated March 19, 2026

7 min read • Originally published November 13, 2015 / Updated March 19, 2026

When it comes to travel, do you hear the call of the wild, or do you prefer bright lights and the big city? Maybe an excursion to strange exotic places is your style. Wherever your heart takes you, there is probably a story there. Consider these nine markets looking for travel pitches.

1. Arrive
This is Amtrak’s onboard magazine, and the editorial calendar is planned every spring. It is closed for 2016 submissions, but editors will begin accepting pitches for 2017 on Jan. 1.
What to pitch: Each issue covers at least one travel feature on an adventure or destination in the Northeast region of the United States. The September/October issue, for example, ran a story on the Cider Trail. The magazine is also seeking submissions for its “Your Family” department, a personal essay, like the recent story on a father reflecting on trips he took with his autistic son. These essays are assigned about six months out.
Length: 1,800 words for travel features; 1,500 words for “Your Family” essays
Pay: $1 a word
Assigning editor: Leigh Flayton, LEIGH dot FLAYTON at MCMURRYTMG dot COM
Flayton’s advice: “Please note we only look at stories relevant to the Northeast Corridor.” If you are unfamiliar with the section you are pitching, please review the online archives and editorial calendar.

2. Delta Sky
Delta Sky is the eponymous airline’s in-flight magazine, and it publishes a large number of travel stories, along with business trend stories and some lifestyle content. “Sky values unique points of view as well as stylish and authoritative writing, covering not only amazing destinations and aspirational trips, but also looking at how and where the world’s thought leaders, creatives and innovators travel and live,” says executive editor Sarah Elbert.
What to pitch: The magazine seeks pitches for “Trending,” “Time Out” and “Breakaway,” its shorter front-of-book pieces. It also accepts pitches for the features “1 City/5 Ways,” a focus on five aspects of a specific city (for example: style, music, history, food and family), and “Travelogue.”
Length: “Trending,” “Time Out” and “Breakaway” run about 350 words; “1 City/5 Ways” and “Travelogue” run about 1,000 words
Pay: $1 to $1.50 a word
Assigning editors: Jennifer Buege for “Trending,” “Time Out” and “Breakaway”; Sarah Elbert for “1 City/5 Ways” and “Travelogue”; FirstInitialLastName@deltaskymag.com
Elbert’s advice: “Look at past issues at delta.com/skymagazine. That is the key. Please be specific and thoughtful with your pitches and make sure Delta actually flies to any destinations you’d like to write about. We’re open to business and trend-focused pitches as well.”

3. Hemispheres
Hemispheres is United Airlines’ in-flight magazine that is “written for the affluent, curious, sophisticated citizen of the world.”
What to pitch: In addition to its front-of-book “Dispatches” section (400- to 600-word vignettes), the magazine’s personal travel essay column is open to freelancers. Rather than covering any specific places or travel experiences, the column aims to get at how travel can be a transformative experience, or challenge travelers’ notion about themselves or the world around them. One successful essay involved the author being forced to rethink his feelings about the human victims of wild animals after confronting a hungry lion on safari. Other successful essays included one about the joys of rediscovering your hometown through the eyes of a tourist, and another about the security that a wary traveler found in a hotel robe.
Length: 900 words
Pay: $900 flat rate
Assigning editors: Jordan Heller or Chris Wright; FirstName@hemispheresmagazine.com
Heller’s advice: “Rather than pitch, just write the damn thing and send it in. If we like it, we’ll print it and pay you for it.” For more information, read How to Pitch: Hemispheres.

4. Islands.com
Islands.com seeks “compelling stories that inspire island travel.”
What to pitch: For information on its print magazine, check out How to Pitch: Islands, but note that this exotic-travel publication now also seeks pitches for its website. Recent examples include “5 Must-Dos in Aruba” and “How to Move to Maui.”
Length: 500 to 900 words
Pay: $500 flat rate
Assigning editor: Cami Webb, CAMI dot WEBB at BONNIERCORP dot COM
Webb’s advice: “We look for stories that have high search volume and low competition.”

5. National Parks Magazine
The magazine of the National Parks Conservation Association runs stories related to travel within the National Parks System. This includes all the big landscape parks, seashores, recreation areas, military sites and urban parks. Recent articles have included a first-person essay on birding at Big Bend National Park in West Texas, and an item on how scientists and the National Park Service are working to bring back the chestnut tree.
What to pitch: “We are open to pitches for all areas of the magazine,” says editor Rona Marech, “though we tend to get new (to us) writers started on shorter stories.” You can view past examples of the magazine online.
Length: Front-of-book news stories range from 400 to 1,500 words; recurring departments typically run 950 words; long features are usually 1,800 to 2,000 words.
Pay: $1 a word; sometimes new writers start at $.80 a word and move up from there
Assigning editor: The pub is in the process of hiring an associate editor. In the meantime, pitch Rona Marech, RMARECH at NPCA dot ORG
Marech’s advice: “Please submit pitches that are as specific as possible, and send clips with great leads.”

6. TravelandLeisure.com
This website for sophisticated travelers focuses on both business and pleasure trips.
What to pitch: “We love publishing a huge array of story types: long form, news, listicle, video, tips/tricks, Q&As, essay, roundups and more,” says digital editor Amy Schellenbaum.
Length: “No ideal length,” says Schellenbaum. “This is the Web!”
Pay: Small items like news or short form go for $100; pay goes up from there and is largely variable, depending on the pitch.
Assigning editor: Amy Schellenbaum, AMY dot SCHELLENBAUM at TRAVELANDLEISURE dot COM
Schellenbaum’s advice: “Please pitch stories, not topics. Please do not pitch by saying you are going on a trip and wonder if I need anything from there. Have patience, but also don’t be afraid to follow up.”

7. Travelers’ Tales
This publishing company has ongoing calls for submissions. Its series of anthologies publishes the best personal nonfiction travel writing by seasoned and newbie writers.
What to pitch: The editors seek “deeply personal, transformative true stories about people’s experiences in the world,” says executive editor Larry Habegger.
Length: Flexible, but review the submission guidelines.
Pay: $100
Assigning editor: Larry Habegger, LARRY at TRAVELERSTALES dot COM, but note that Travelers’ Tales only accepts submission through its intake site, travelerstalesstories.com.
Habegger’s advice: “Tell the best story you can and make sure it’s significant to you so it will also carry meaning for the reader. You want to create an emotional response in your audience.”

8. Via
This is one of AAA’s regional magazines. “What makes Via different from other magazines is its sharp focus on travel across the Western U.S. and its broad reach (3 million copies to households in eight states),” says managing editor Rebecca Hurd. Note that Via has three editions: Northern California, Nevada and Utah; Oregon and southern Idaho; and Montana, Wyoming and Alaska.
What to pitch: The best place to break in is its front-of-book section “On the Road,” which highlights places to go and what to do there. Stay away from destinations the magazine has featured in the last three years.
Length: “On the Road” stories run about 200 words
Pay: Typically $1 a word
Assigning editor: Send all pitches to VIAMAIL at VIAMAGAZINE dot COM
Hurd’s advice: None, other than the submission guidelines. Request a copy of by writing to VIAMAIL at VIAMAGAZINE dot COM. For more tips, read How to Pitch: Via.

9. Where
This is a global travel media brand that produces a variety of print and digital publications. Its print magazines range from monthly and bimonthly to quarterly, depending on the region. View its list of destinations online.
What to pitch: “In the magazine, the section in which we most often use freelancers is titled “Where Now?” says chief travel editor Geoff Kohl. The section covers trends, nearby points of interest, things to do and happenings in the destination.”
Length: Short pieces start at 150 words; features run up to 1,000 words
Pay: Varies, depending on market and story length
Assigning editor: Where has staff in every place it publishes; the names and emails of editors can be found on the company site’s contact page. Or send your query to EDITORIAL at WHERETRAVELER dot COM, and a team of editors will forward your pitch to the appropriate editor.
Kohl’s advice: “If you’re querying us for our print magazines, we want you to have your finger on the pulse of the destination and know that our magazines are read by upscale, savvy travelers who are in the city right now (this month).”

Other titles to try:
The Advocate
Afar
BBC Travel
Cruising World
Cultures & Cuisines
Curve
Destination Weddings & Honeymoons
Elle Décor
Islands
Latina
National Geographic Traveler
NiC
The Red Bulletin
Roads & Kingdoms
Saveur
Southwest

Topics:

Skills & Expertise

7 Grammar and Copy Mistakes Almost Every Writer Makes

Catch these errors before your editor does

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.

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

By Kristen Fischer

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

When it comes to demonstrating good grammar, writers and editors, or any other communications professional, must excel. Careless copy could be the difference between getting your article or pitch red-penned or just flat-out rejected.

“That written piece you turn in to your editor is your calling card,” said Sofia Romero, a managing editor based in Boston who blogs about the topic at Mighty Red Pen. “It gives the editor clues about whether you’re an attentive and diligent writer or a sloppy one.” The same can be said for those of you in marketing, PR and even sales. Using proper grammar and avoiding common mistakes help you look smarter.

Although style guides are ever changing and vary between fields, there are some common grammar pitfalls every media professional should just avoid.

1. Misusing “lay” and “lie”

Let’s make it simple: “Lay” refers to a direct object and “lie” does not. You lie down on the sofa (no direct object there) and lay your favorite style guide on the table. Get it?

Mignon Fogarty, author of Grammar Girl’s Quick and Dirty Tips for Better Writing and founder of the Quick and Dirty Tips Network, thinks all the confusion started with the classic children’s prayer that starts, “Now I lay me down to sleep…”.

“In that children’s prayer, the way it’s worded, you’re laying yourself down as though you were an object. A lot of people just pick that up, and then even though you’re supposed to say ‘I want to lie down,’ they’ll say, ‘I want to lay down.'”

Lay should only be used when you’re talking about setting something else down, like a book or a blanket. However, it gets more perplexing when you bring in the fact that “lay” is the past tense of “lie.” So if you’re trying to state that you set yourself down in the past, you use “lay” (e.g., “I lay down an hour ago for a nap”). If you’re stating that you set something else down in the past, you use “laid.”

“I think the trick is to recognize why you get it wrong and then remind yourself it’s a common error,” she noted.

2. Misusing “who,” “whom” and “that”

To distinguish the first two, remember that you use “who” when you are referring to the subject of a clause and “whom” when you are referring to the object of a clause.

Fogarty’s got a trick for helping you remember which to use: Like “whom,” the pronoun “him” ends with “m.” When you’re trying to decide which word to use, ask yourself if the answer to the question would be “he” or “him.”

If you’re asking “Who (or whom) do you love?”, the answer would be “I love him.” “Him” ends with an “m,” so use “whom.” But if the question is “Who (or whom) drove the car?” the answer would be, “He drove the car.” There’s no “m,” so use “who.”

And just to clarify further, if you’re referencing a person, you have to choose between “who” and “whom,” because you should never use “that” to reference an individual, added Delia Cabe, an English professor at Emerson College in Boston.

3. Misusing “regardless” and (gasp!) “irregardless”

One final common word swap is “irregardless” for “regardless.” Both are listed in most dictionaries, but the former is often used by people who want to convey the meaning of “regardless.” The word “regardless” means “without regard” or “despite something” and is fine to use as is. The ir- prefix means without, so if you say “irregardless,” you are really saying “without without regard,” which is a double negative. Just use “regardless,” regardless of what you think.

4. Going overboard with em dashes

There are many ways to set off a clause in a sentence, but too many writers turn to the em dash over and over—and over and over again.

If an unwieldy clause or full sentence needs to be set apart, an em dash can be particularly useful in helping the reader follow along. For example:

The new brochure explains which houses are currently on the market—not just what was recently sold—along with information on the neighborhoods, school districts and property taxes.

But too many in one article (or worse, paragraph) can have the opposite effect and actually cause the reader to disengage. It’s the equivalent of extra exclamation points or writing in all caps. After a while, it’s just annoying and actually de-emphasizes your work instead of making it more compelling. For example:

The new brochure explains which houses are currently on the market—along with information on the neighborhoods, school districts and property taxes.

Unnecessary, right? So, when you’re tempted to slap on another em dash, think about alternatives. Would a semicolon work instead? What about an ellipsis? Or, can you break the prose up into sentences? Too often, we use the em dash as a crutch to make our words seem more poignant when, in reality, quality writing should be able to stand on its own.

5. Mixing up subject and verb agreement

A singular subject agrees with a singular verb, and a plural subject agrees with a plural verb. When the subject of a sentence includes two or more nouns or pronouns connected by “and,” use a plural verb:

He and his friends are at the fair.

In the event of two or more singular nouns or pronouns connected by “or” or “nor,” use a singular verb:

The journal or the pencil is in the desk.

Watch out for phrases that come between subjects and verbs:

One of the doors is open.

The verb agrees with the subject, not with a noun or pronoun in the phrase, so we use “is” because there is only “one” door.

6. Using commas instead of semicolons

Similar sentences should always be connected with semicolons, not commas. Fogarty says that semicolons are used to separate two main clauses that are related to each other yet can stand on their own as sentences if needed:

WRONG: I have an early appointment, I can’t stay out late tonight.

RIGHT: I have an early appointment; I can’t stay out late tonight.

RIGHT: I have an early appointment, and I can’t stay out late tonight.

To join like clauses, use a semicolon or a comma with a conjunction, or just create two separate sentences. But a comma by itself is a no-no.

7. Using modifiers incorrectly

If you don’t pay attention to the placement of modifiers, you could give a headline or sentence a completely different meaning.

“When you read about misplaced modifiers, you’ll often see simple examples that highlight how the word ‘only’ can be misplaced, even though most readers won’t actually think ‘I only have eyes for you,’ means anything other than ‘You’re the only one I see,'” explained Fogarty. “I’m guilty of using such simplistic examples myself.”

When a modifying prepositional phrase is added at the end of a sentence, it can spell disaster. But she said a good example of a modifier being used incorrectly is:

Over 400 people reported feeling the quake on their website.

Obviously, the website can’t shake, so the statement should be rewritten to better clarify where the reporting took place:

Over 400 people reported on their websites that they felt the quake.

Tips for cleaner copy:

Use style and reference guides. A style guide can help you conform to a publication’s individual preferences, but a good reference book offers a clear understanding of language fundamentals and tends to set the record straight on American English grammar. Fogarty recommends Garner’s Modern American Usage and Merriam-Webster’s Dictionary of English Usage.
Talk to your editor. “As an editor, I like to think that some aspects of writing can be a collaborative process,” noted Romero. “I want writers to think of me as being on their side because, ultimately, I am.”
Read. Fogarty says that active reading can help you take note of usage, improve your aptitude and investigate issues you’re not familiar with. “It can really make a difference and it doesn’t take any extra time; it’s just more of a mindset,” she added.

Improve your grammar and copy skills with one of Mediabistro’s online courses on copyediting.

Topics:

Climb the Ladder, Skills & Expertise

Journalism Advice

Why Hiring a Subcontractor Could Make Your Freelance Business More Profitable

A little help can go a long way

By Amanda Layman Low

@AmandaLaymanLow

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

Personal Essay Markets, Part IV: Online Publications Accepting Submissions

Share your personal story with the world at these digital pubs

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

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

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.

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