Hey Freelancers, This Is What it Takes to Create a Successful Pitch

Photo by Kelly Dawson

Let’s start out by stating the obvious: Freelance writing is hard. Really, really hard. While outdated stereotypes perpetuate the idea that freelance writers are either Carrie Bradshaw or couch potatoes, the truth is often far from both.

As most Sex and the City fans have realized, there’s no way to get by in any city as fabulously as Carrie did on one scant freelance column — rent, shoes, or otherwise. And I’d argue that freelance writers work harder, longer hours than many staff writers in an office. When you are in charge of research, pitching, writing, editing, fact-checking, and invoicing, you rarely have time to lounge around watching TV.

Like most things, the truth of being a successful freelance writer is somewhere in the middle of those two extremes. Because it’s possible to call your own shots, you can shop in the middle of the day or spend the afternoon watching Unsolved Mysteries. You should sometimes, too. But in order to be a freelancer who makes a decent living, you need to master one thing: a good pitch. A good pitch not only has the potential to land you a noteworthy byline, but it can also lead to an ongoing relationship with an editor — a.k.a. a consistent paycheck.

So, what do you need in order to create a good pitch for a publication you’ve never written for before? Here’s what it (usually) takes, plus the resources to get you on your way.

Know the Publication

This sounds pretty obvious, but it still needs to be said: If you read a publication, then you have an idea of what its editors are likely to publish. Even if you think that all audiences should know who you are and what you write about — and hey, more power to you — your pitch will likely get ignored if it’s outside the realm of what a publication covers. The best pitches are tailored to the exact publication it’s meant for, with a clear explanation for why its readers will benefit.

Pitch to a Person

Speaking of Unsolved Mysteries: It’s highly unlikely that you won’t be able to find the specific email address of the editor who should consider your pitch. It’s not hidden, and it’s probably only a few clicks away. Head to the publication’s masthead, and find the editor who’s best suited to your pitch’s topic. Their email will likely be listed there, and if it’s not, try Twitter.

The other option is taking a guess at [lastname.firstname@publication.com]. Stay away from general submission emails unless you never intended for anyone to read your pitch. And don’t tell the editor you’ll send them a pitch in a comment on Instagram or Twitter. Just do it.

Photo by Kelly Dawson

Make Your Case

Pitch emails don’t need to be long, and really, they shouldn’t be. If you’re new to the publication, you’ll probably have more success pitching to smaller aspects of it than any big-ticket series. Introduce yourself and your pitch, and get to the why of your idea in a few sentences. It should explain how this idea is important to the publication’s readers, and how it’s an original take on a topic that hasn’t been covered by this publication before. That part is key: Your pitch needs to have a fresh angle. If it’s been done, then there’s probably no room for your sequel.

Point to Experience

At this point, the editor might be thinking, “Hm, interesting! But why you?” Now is the time to prove that you’re the person for the job by pointing the editor in the direction of your clips — which should be hyperlinked, and not downloaded as a PDF (except, of course, if the clip is from a publication that has gone to a newsstand in the sky). Remember, this person isn’t a loved one, so they’re not interested in every single story you’ve ever written. Include only the relevant clips that are within the same format as what you’re pitching. Essay pitches should be paired with essay clips, and so on. Don’t feel the need to get too personal, either. Stick to the topic, and if editors want to Google you, they will.

Share How You’d Get It Done

Most editors don’t want to read a story you’ve already completed — mostly because they need to get the idea approved on their end first. So if you have a draft, keep it to yourself. Editors want to know that they can trust you to follow through, so include relevant information on how you’ll make good on their trust instead. Does your story hinge on a certain interview? Make sure that’s ready to go—before you pitch, actually. Is it a topic that’s very newsworthy? Guarantee that you can write a quick turnaround. Does it need art? You’ve got that covered, too.

Notice the Details

Before you hit send, proofread and double-check that everything is in order. The links lead where you want, you didn’t accidentally misspell something, and you have a punchy subject line that’s in the voice of the publication. Usually, [Freelance Pitch: Possible Headline] works, but don’t overthink it.

Photo by Kelly Dawson

Follow Up Strategically

Do not, under any circumstances, follow up on your pitch the next day. Be cool. If it’s an incredibly newsworthy pitch, maybe follow up after two to three days. But more often than not, give your pitch a week.

There isn’t some magical, secret, or even petty reason why an editor hasn’t gotten back to you yet — they’re just working on other things. If you wait and hear nothing after a week, then send one quick, polite, totally casual follow-up email. After that, assume the editor isn’t interested and shop it elsewhere (in that other publication’s style, of course). Don’t take it personally, because there are a zillion reasons why the editor didn’t get back to you. Someone else will.

A Yes Pitch Gets That Money, B*tch

As you patiently wait for your pitch to get accepted, make sure you do some research on what a typical rate at this publication is — or have a standard personal rate for the suggested word count and see if it measures up. This is so you’re ready when the editor gets back to you with “yes, 1,000 times, yes!” That’s exactly what they’ll say, too.

Rates vary across publications, and also in different sections of the same publication. Take note of your research, and plan accordingly. (If you’re a member of an underrepresented group, especially women of color, take the ranges you find and add 25 percent.) Unless it’s under very rare circumstances, which are getting rarer by the hour, you shouldn’t work for free.

Turn This Pitch Into a Consistent Paycheck

It’s not always possible to turn a green-lit pitch into a recurring gig, and often those reasons are out of your control. But it doesn’t hurt to try. For starters, deliver. Meet your deadline with a story that’s exactly what this editor asked for, and make it a clean and interesting read. If there are edits, take them in stride — your editor is usually only trying to help. (If you are a member of an underrepresented group who’s writing about your personal experiences, then you’ll most likely have to practice patience and teach. But also know when it’s best to walk away, and leave with a kill fee.)

When the story is published, ask about more assignments. Try something like, “It was a pleasure working with you, and I’d like to continue. Do you have any other available assignments, or can I pitch you something new?” Once you have an in, make the most of it. After all, successful freelancers have consistent paychecks so they don’t always have to pitch.

Resources for Pitching

• Subscribe to Sonia Weiser’s “Opportunities of the Week” newsletter

• Join the Study Hall network

• Check out the Freelance Journalism Alliance

• Read up on Mediabistro

• Get involved with the Freelancer’s Union

• Sift through Contently’s Freelance Rates Database

This story originally appeared on Medium.