There are lots of articles out there about how to pitch feature articles to magazine and newspaper editors, but recently I’ve been thinking about exactly what makes an editor say yes to a pitch. We all know that pitches usually need to include a timely, “newsy” angle or element. But one piece of advice I heard in a podcast episode made me sit up straight. It was where an editor spoke about the two crucial elements in any publication.
What makes an editor say YES to a pitch from a freelance writer?
I was listening to the Longform podcast, which if you haven’t heard of it before, is a wonderful, deep-dive of a podcast where a non-fiction writer or editor talks about how they tell stories.
I was listening to this fantastic episode with GQ editor-in-chief Jim Nelson.
And just as an aside, you may not think it, but GQ publishes some wonderful, quirky and fantastically engaging longform features like this one.
But back to Jim (can I call him Jim?) … Jim was talking about the two essential elements that all great magazines have.
When I thought about it, I realised these elements are also integral to what makes a great pitch.
[And if you’re not quite sure how to structure a pitch or get started as a freelance writer – here’s a helpful post]
The two essential elements freelance writers need to include in their pitches
Listening to this episode reminded me that editors are always trying to get the right balance in their publication.
They want to curate content that hangs together and is cohesive.
But in doing so, they are constantly walking a delicate tightrope.
They want to reassure readers that they are at home with a publication (it’s warm, cosy and known) but they also want to publish content that will stretch readers.
They’re inviting readers to consider something they have never thought about before, or to take a fresh look at a familiar topic.
Otherwise, what’s the point of buying the publication month after month, week after week or clicking onto it each day if you’re always essentially going to get the same read?
So, knowing this, how can we, as freelance writers capitalise on these two essential elements in our pitches?
Editors want to know from your pitch that you know what their readers want.
Readers pick up publications and there’s a familiarity for them.
They know the kinds of stories they will find. There are regular sections (such as travel, food, beauty, community, tech trends etc), regular columns and a tone or style that is reliable.
By thinking about a publication’s constancy, you ensure you have the readers at the forefront of your mind.
To get your pitch across the line, your idea has to be at home in the publication – does the editor run other stories like this? Does this story fit within the broad themes of this publication?
If you answer ‘yes’ to those questions, then you’ve nailed constancy and the first part of getting your pitch accepted.
But of course, constancy isn’t enough.
Once you’ve established that your idea fits snuggly, you then have to introduce the element of surprise.
Years ago, I heard an editor speak about what made a great pitch.
The element of surprise.
Your idea has to be surprising enough that it intrigues the editor.
It has to interest and delight them so they simply have to commission you to write it.
Ask yourself: What is surprising about this story? What hasn’t been told or said before? What are the broader threads or overarching themes?
The surprise doesn’t have to be a “ta-dah”, mind-blowing surprise.
No, it can be a new statistic or study that shines new light on a familiar phenomenon.
It can be that one person’s unique experience is actually shared by others, or you can put two seemingly disparate ideas or trends together.
Not every pitch you write is going to be the scoop of the century, but every query letter you send out can have constancy and surprise.
After I heard Jim speak on the podcast, the words constancy and surprise rolled around my mind for days afterwards.
What I love is that those two words go beyond the usual advice about pitching to editors and really break down what editors are looking for.
Most of us have had the experience of being utterly transported by a book or article we are reading, only to look up and find ourselves still in the familiar surrounds of our home.
Constancy and surprise.
The building blocks of great writing.
And if you’re wondering what a successful pitch looks like, I’ve created a downloadable resource of 10 sample pitch letters to magazine editors – all of which were commissioned and published by publications such as The Guardian, Travel + Leisure Southeast Asia, Sunday Life, The Saturday Paper and more.
What do you think about the elements of constancy and surprise? Do they seem like the core of a good pitch to you?