Freelance Files
Beyond the Query: Cultivating Relationships with Editors By DAWN STOVER
I was a magazine editor in New York City. He was a freelance writer in North Carolina. He wrote to me with a new pitch every few days. I replied with an occasional assignment and a lot of re- jections. Eventually I stopped responding altogether. The writer’s pitches were pithy and timely, and always in- cluded a paragraph about why he was qualified to write the story. If there was a query-writing textbook, he was following it perfectly. But in the end, that was the problem. His pitches were formu- laic, and each described him differently. “Does he think we don’t know who he is by now?” my colleagues and I wondered. This writer didn’t seem to realize that freelancing isn’t all about writing good queries. It’s also about building and sustaining con- nections between human beings. I’ve been on both sides of the writer-editor relationship, and I’m still learning that lesson. But how do writers cultivate relationships with editors?
Act like a pro
This should go without saying, but the horror stories I hear from my editor friends suggest that it bears repeating. The free- lancers who get repeat assignments don’t just have good ideas and writing skills; they’re also dependable, courteous, enthusiastic and cooperative. “We’re looking for consummate professionalism,” says Janet Raloff, who edits Science News for Students. “If someone can turn in clean copy on time, I’ve got lots of work for them.” Eric Johnson, a freelancer in
whether the editor prefers to communicate by phone, email, text or some other method — and what they expect from a query. A news editor, for example, may value a prompt pitch over a carefully crafted one.
want to write.
Stay focused on the story your editor wants — not the one you Whether I’m in the role of writer or editor, I think of each story
as “ours.” Writers and editors are partners, not adversaries. When we work well together, we make each other look good. In an earlier era, editors were expected to discover and nurture new writers, and to build stables of established freelancers. Al- though few editors have that kind of time and budget anymore, loy- alty still has value.
Keep going back to the editors who make your stories shine, and who have appreciated your work in the past. Read mastheads and industry news to keep tabs on your favorite editors’ move- ments, and follow them to their new postings.
If you’re more like a lone wolf than a Labrador retriever, that could be hurting your freelance business.
Switzerland, agrees: “Being reliable sets one apart from the field.” Unfortunately, it’s not uncommon for writers, even established ones, to miss deadlines and fail to follow instructions carefully. At one magazine where I worked, the editors joked about a monthly award for the most preposterous excuse, named after a repeat of- fender. (Full disclosure: the first draft of this article was a few days overdue to my editor.)
One way to stay on schedule is to avoid the temptation to prom- ise whatever you think an editor wants to hear; it’s better to be real- istic than optimistic if you want to build a reputation for reliability. Editors don’t appreciate taking a back seat to another client or to your personal life, so keep the details of your schedule to yourself.
Heed editor’s needs, have a shared vision
Freelancers often start with a story they want to tell, and then think about where to sell it. “The reality is, if you want to get into a publication, you have to shape your piece to the editor’s needs,” says Andrew Blechman, a senior editor at Yale Environment 360. Put yourself in the shoes of the editor you’re pitching, a person who is probably overloaded with emails and responsibilities. Demonstrate that you are familiar with the editor’s outlet — and if possible, his or her own work. Before you send a pitch, find out
Perhaps the biggest frustration for freelancers today is when editors, even ones we know personally, don’t respond to our in- quiries. There are many reasons for this, often unrelated to the mer- its of a specific story. Writers can be unresponsive, too; as an editor, I sometimes have to wait days for a response to a simple question. But if you approach the writer-editor relationship as an equal partnership, you won’t be afraid to fol- low up with a friendly reminder or a phone call. It can also be valuable to commu- nicate with your partner during the time after a story is assigned but be-
fore it’s due. It’s not just a matter of keeping your editor posted on your progress, although that’s essential if your story changes in any significant way. A good editor can also help you think about how to structure your story and stay on track with your reporting. Don’t stop communicating with your editor after a story is fi-
nalized, either. Too often we focus on what needs fixing and don’t take time afterward to thank each other for a job well done. Editors don’t get the recognition of a byline, so they appreciate hearing from you when you love what they did with your writing.
Network, network, network
Cultivate editors the same way you cultivate sources. Follow them on social media, with the goal of engagement rather than self- promotion. Join their conversations. Notice the work they’re doing, and tell them what you like about it. When you introduce yourself to an editor, tell that person why you would like to work with him or her. Be specific and genuine; editors can spot insincerity a mile away.
The goal is to create relationships with editors before you pitch a specific story. For any pitch, you’re pitching yourself along with your idea. If an editor has a sense of who you are — not just from your writing but also from your community connections — that can
19 SEJournal Summer 2016
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28