When it comes to pitching editors your story ideas, your success relies on one simple question:
Are you making the editor's life easier?
The editor-writer relationship is a funny thing, as editors can seen as the gatekeepers who fail to "get" your big idea. As a writer, you're used to putting yourself in another person’s shoes—so it’s important to apply that empathetic lens to editors, too.
To differentiate yourself and increase the success of your pitches, always craft your email cognizant of the fact that:
1) Editors are super busy and generally harassed by PR people. Add the pressure from their own bosses, colleagues, deadlines, and the general turbulence of the media landscape.
2) Editors want to believe in you—they need original, thought-provoking stories! You just need to give them every reason to believe you can deliver.
Pitching is tough, but there are so many things you can do to swing the odds in your favor. Taking the extra effort to strengthen your pitch seems time-consuming (what if it's all for nothing?), but truthfully it makes your job way easier. It forces you to confront the gaps in your story that makes editors hesitate in the first place. It gives you the confidence to know that if an editor hypothetically called you five minutes after receiving your email, you could pick up the phone and sell your idea to them intelligently.
Virtually any question you may have about the process can be answered by sticking to this key principle. And when you continue to make editors' lives easier by following your bulletproof pitch with a punctual, clean, amazing piece, you'll stand out as a diamond in the rough and build real, lasting relationships.
Here are a few key guidelines to up the ante on your pitching game.
Your email subject line is your lifeline.
The irony is that subject lines are often dashed off as an afterthought, after hours of research and playing with words to perfect the body of the email. Yet, if your subject line doesn't capture the editor's attention, your pitch has zero chance of getting published.
Come up with at least 10 titles for your story idea, experimenting with different sentence structures and angles. Then, start the email subject line as, “Story Pitch,” “Article Idea,” or "Writer Query," followed by your proposed title (unless the publication has writer's guidelines that instruct you to do otherwise).
What's your angle?
If the subject line is your lifeline, I'd say your angle is life-support. Never pitch a general topic; instead, figure out what it is you're trying to say about that topic. For example, you wouldn't want to pitch "a story about reiki." Instead, you could propose a look at how reiki is being integrated into hospitals and therefore is being seen as legitimate in the eyes of medical professionals; how pet parents can soothe anxious pets during the holidays with reiki; or how a former convict is hosting a wildly popular reiki circle in your hometown.
Spelling out a clear angle sticks to the cardinal rule of making the editor's life easy, which consequently makes it harder to shoot you down. Figure out the central question you're aiming to answer. What are the narrative elements, who are the characters, and what is the conflict?
BE RELEVANT.
This rule goes hand-in-hand with figuring out your angle. It’s so, so important to spell out why your story is relevant and timely. Is it seasonal? Is it a themed awareness month? Is there a startling statistic?
Print magazines move at a slower pace, so you’ll want to pitch months in advance for print stories to give editors enough time to consider your idea. If it’s a digital outlet, you don’t have the same time constraints, but it always helps to be ahead of the curve.
Track down the correct editor and department.
Always dig around to see which editor and department you should target. Including a real name instead of "To Whom It May Concern" goes a long way, and it's usually pretty easy to figure out thanks to social media (especially Twitter and LinkedIn). Although I'd refrain from pitching editors on social media itself—sticking to work email addresses is a better bet. Joining Mediabistro's AvantGuild is also well worth-it; membership provides access to hard-to-reach editor email addresses and gives specific tips for a variety of outlets.
These aren't the only details you need to figure out. Eliminate the big questions an editor might have, such as: What format would be best for telling the story? Why would readers of XYZ care? Why is this timely? Has the topic been covered by the media before—if so, why is your approach novel? What images could accompany this article?
Keep it short and sweet.
Although some stories require more explaining than others, try to keep things as brief and straightforward as possible. Editors will appreciate that you respect their time. It also shows you have a real focus, rather than a half-baked idea that isn't quite there yet.
Go a step beyond.
Identifying sources and reaching out to them ahead of time proves you're a committed, credible storyteller. Most people are happy to speak to you ahead of time if you send a short, honest email explaining who you are and what you’re trying to do. If you can chat with a potential source on the phone and include a quote in the pitch to support the story, you’re that much closer to securing a “yes.”
Why are YOU are the one?
If you’ve already locked down sources, then you’ve shown one reason the story should be yours. The second ingredient to credibility is a professional website with links to your best work. Add some testimonials to that website, and you're further breaking down the trust issues that prevent editors from answering you.
Triple-check for grammar and spelling—it's pretty frustrating to be turned down because of a simple error, so email the pitch to yourself before sending it out.
Keep track of your pitches.
This tip is about making your life easier, dear writer! Keep an Excel spreadsheet with the following categories: Outlet, Editor Names & Contact Info, Pitch Date, Follow-up Date, Proposed Title, and any additional comments. This makes it infinitely easier for you to measure the status of all your great ideas, as well as see what's working and what's not.
Always, always follow up. The timeline varies depending on a number of factors (like the urgency of your topic), but a good rule of thumb is to give editors at least five or so days before reaching out again. Definitely don't be afraid to send a friendly follow-up—many editors are drowning in emails, not purposefully ignoring you.
You can say something simple along the lines of: “Hi! Just wanted to check in and see if you had any interest in this story. More than happy to answer any questions. Thanks so much for your time.”
Just remember to focus on how you can fulfill THEIR needs instead of letting your ego get involved (“Hey, I know you’re busy but wondering why you haven’t answered? This idea would be perfect for your magazine!”).
You’ve got this!
There's no formula out there that guarantees 100% approval, and that's due to a zillion different reasons—many of which have nothing to do with you at all!
Don't get discouraged, and keep writing as many pitches as you can to improve, all with the mindset of making the editor's life easy. Put yourself in their shoes, always. In the process, you'll refine, refine, refine—and transform into a pitching powerhouse. Now get out there and unleash your best pitches into the world!
some additional resources:
Who Pays Writers? gives you a good idea of what each publication pays writers (and may influence who you pitch first!).
The Open Notebook’s Pitch Database is full of successful examples.
3 PITCHES THAT WORKED FOR ME
Below, I’ve shared three pitches that got the green light from editors. You might notice that each pitch varies in length, detail, and format. This is because each outlet (and even editor) is different, and you always want to do your homework so that it’s as personalized as possible.
You might also notice some big differences between my proposed story idea and the actual published article. Sometimes, editors will notice your writing style or credibility and end up giving you a totally different assignment, which I always welcome!
While each pitch is personalized, here are some of the common themes you’ll see in each one:
Quotes from sources I already reached out to, or identification of potential sources
A clear idea of the column or section where this story would fit (and an understanding of the types of stories that typically run, format, word length, etc.)
A “hook” or angle rather than a broad theme, complete with characters and a compelling question to answer
Establishing credibility with links to my website
1- A travel story on Courir de Mardi Gras for Nat Geo Travel (here is the published story)
Email subject line: QUERY Courir de Mardi Gras: The Meaning Behind the Melee
Dear ___,
According to Opelousas, LA resident Jim Phillips, “Southern Louisiana is the only place you have to go north to go south.”
What he means is that Cajun country is a world of its own - and the rural bacchanalia that takes place in the prairies of southwest Louisiana on Courir de Mardi Gras is unlike anything you’ll find elsewhere in the US. Yet the utterly wild, colorful, and raucous country cousin of the New Orleans Carnival celebrations remains little known by outsiders. An appointed “Capitaine” leads the ritual chaos of the “courier” (run), in which outrageously-costumed participants frolic through the countryside begging for food and rewarding generous residents with exuberant performances. The revelry produces materials for a giant community gumbo...but only after a group effort to scale a greased 20-foot pole to catch a chicken.
It’s not all chickens and dancing, however.
“Courir de Mardi Gras may appear at first glance to be colorful, overt public expressions of culture, but are at the same time intimate community self-celebrations. There are thorny carnival-related issues: ritual flogging, chicken chasing, inversion, and cross-dressing, not to mention even more difficult issues such as gender and racial segregation,” Dr. Barry Jean Ancelet, UL Lafayette professor and author of “Capitaine, Voyage Ton Flag,” shared with me.
Ancelet's perspective is just a glimpse into the complexity of this unique cultural tradition.
I plan to dive into the meaning behind the melee, examining its roots and evolution as well as the vibrant cast of characters that keep this one-of-a-kind celebration alive. In a society where few holidays remain unscathed by generic commercialization (including New Orleans Mardi Gras), there’s much to explore in a multi-layered 2,000-2,500 word article on Courir de Mardi Gras for Nat Geo Travel.
A particularly vibrant example of the spirit of country Mardi Gras is the Faquetigue Courir de Mardi Gras near the town of Eunice, which is organized by Grammy-winning musician/producer Joel Savoy. Savoy comes from a family famous in Southwest Louisiana for preserving Cajun tradition. (The Cajun people are the proud descendants of the “Acadiens,” the French-speaking people exiled from Nova Scotia by the British in the 18th century. The Acadiens settled in southern Louisiana, in a region now called Acadiana.) At Savoy’s celebration, the “Capitaine” is aided by “La Force,” a group of up to twelve whip-wielding women in black-and-white costumes and masks.
I plan to attend the Faquetigue Courir de Mardi Gras in Eunice on March 5th, 2019, to gather a wide variety of perspectives for this piece, talking to both local figures (including the previously mentioned Dr. Ancelet) and transplants.
In July 2018, I spent two weeks in Opelousas with Jim Phillips and his wife, Christy Leichty. Phillips and Leichty are artists and educators who run The Whirlybird, a unique arts/cultural center and honky-tonk where some of the biggest names in Cajun music regularly perform, and can also connect me to various hard-to-reach sources.
A little into my credentials: My name is Hannah Chenoweth (nice to e-meet you!), and I'm an avid Nat Geo Travel reader and the former Assistant Special Features Editor at Woman’s World Magazine. My writing has appeared in Earth Island Journal, Epicurious, Shape, The Daily Muse, and beyond. Feel free to view my work at hannahchenoweth.com.
Thank you so much for your time and consideration! I look forward to hearing your input. If this pitch isn't the right fit, keep up the awesome work at Nat Geo Travel.
Sincerely,
Hannah Chenoweth
2- A lifestyle column on “kissing the small talk goodbye” for Real Simple (here is the published story)
Email subject line: Real Simple Relating Opener Pitch: 5 Ways To Kiss The Small Talk Goodbye
Dear ___,
Hello from one palindrome to another! My name is Hannah Chenoweth, nice to 'e-meet' you. I'd like to propose an idea idea for Real Simple's 900-word Relating Opener.
5 Ways To Kiss The Small Talk Goodbye
While many people believe you have to be blessed by the "gift of gab" fairy at birth, a new study published in Psychological Science this fall found that most of us grossly underestimate how much people like us after meeting us for the first time. It's also a proven fact that people tend to like those who simply show interest in them, which means likability boils down to understanding the essentials of being a good conversationalist.
Most of us would agree that small talk sucks, and research even shows that people who engage in less small talk and more substantive conversations are happier. I'd like to ask five experts about how to make the leap from banal small talk to more meaningful conversation. Here are the sources I had in mind (the first three have confirmed their availability, by the way!).
Chris Colin, San Francisco-based journalist and co-author of the book "How To Talk To Anyone"
Dr. Stefan Hofmann, Professor of Psychology at Boston University and a therapist who specializes in helping patients overcome social anxiety
Rob Kendall, British writer, speaker, and consultant coined "The Conversation Expert"
Carolina Gawroński, founder of No Small Talk dinners (events that ban phones and small talk)
Nayaswami Durga Smallen, author of the spiritual classic "Autobiography of a Yogi" and co-director of the Ananda Meditation Retreat, which hosts silence retreats
A bit into my credentials: I previously served as the Assistant Special Features Editor at Woman’s World Magazine, where I still regularly contribute women’s interest features for an audience of 6.1 million readers. I’ve written about health and wellness for outlets like Shape, Epicurious, Earth Island Journal, Healing Lifestyles, Spirit Guides Magazine, The Daily Muse, YogaCity NYC, and more. Feel free to view published samples at hannahchenoweth.com.
Thanks so much for your time!
Sincerely,
Hannah Chenoweth
3- A health story on birth doula myths for SheKnows (here is the published story)
Email subject line: SheKnows Query: Busting The Biggest Myths About Birth Doulas
Dear ___,
"My goal is for women to have a spectacular birth," Kristen Brennan shared with me with a sparkle in her eyes. "“I work with clients to make pregnancy and labor a spiritually enriching experience where you feel like a transformed and empowered woman, rather than traumatized."
Kristen is a New Jersey-based birth doula, and the above sentence is one most women aren't even aware is possible. "Spectacular" and "birth" are rarely used in the same sentence, yet Kristen maintains that it's entirely in the realm of possibility for any expecting mother. The fact that pregnancy and birth is an incredibly vulnerable, trying, and transformational experience is not exactly groundbreaking, but what is newsworthy is the benefits that birth doulas can offer to the experience.
According to DONA International, the largest doula association in the world, more than 6,500 birth and postpartum doulas have been certified to date (a number that has tripled since 2002). The demand for doulas is undeniably on the rise, but misconceptions still run rampant: Many women, for instance, think that having a doula means they must have a homebirth or have a medication-free delivery (neither are true). I'd like to propose a 1,000 word article for SheKnows that busts through these misconceptions, shedding a light on the real, evidence-based benefits of having the support of a doula.
A doula is there to be a woman's biggest cheerleader and advocate, and to provide compassionate, nurturing physical, emotional, and informational support during labor and birth. The benefits are well-documented, with research showing women with a doula are less likely to have pain-relief medications administered, less likely to have a cesarean birth, and more likely to have a positive birth experience.
I have a number of potential sources in mind, including Dr. Amy Gilliland, a renowned birth doula researcher, who has been working on a project called, The Doula Effect: How and Why a Birth Doula Shortens Labor, Enriches Parenting, and Optimizes Mental Health Outcomes, for over ten years. I'd also like to consult Lindsey Bliss, author of The Doula's Guide To Empowering Your Birth and co-director of Carriage House Birth in New York and Los Angeles. Of course, I would also gather the perspective of at least two women who have hired doulas personally.
A bit into my background: My work has appeared in Glamour, SELF, Shape, Mother Earth Living, Epicurious, Earth Island Journal, Healing Lifestyles, Woman's World Magazine, Baltimore Style, and more; forthcoming work will appear in National Geographic, Real Simple, and Prevention. Feel free to view samples at hannahchenoweth.com.
Thanks so very much for your time and consideration! I look forward to hearing your thoughts on this idea.