I’m sick of the story or scared to see any last-minute changes. Seeing My Work Publishedīy the time an article I’ve written, edited and cried over is published, I rarely read it again. I love working with editors who I trust, and if they make changes I truly despise, I simply don’t work with them again. It’s impossible to have an unbiased, removed view of my writing. I often get caught up thinking of my work like my baby, but nothing is perfect, and it’s okay to let go of some word choices. Even if I push back, the editor might not change it, my piece might be killed (i.e., not published) or the editor might not want to work with me again.Ī good rule of thumb is to accept at least half of the edits, choosing which changes you want to fight against carefully. Most of the time, it’s best to accept an editor’s changes, unless something is wrong, untrue or doesn’t sound like something you’d ever say. Many times, a phrase I love gets changed because it doesn’t fit the magazine’s tone or audience. I’ve worked with editors who have inserted errors into my work and editors with such a light touch, I didn’t even notice their edits-except to realize my piece was subtly better and easier to read.Īs an editor, I try not to smother a writer’s voice (unless absolutely necessary for the publication). And then… RejectionĮvery editor works differently-some only want to see a polished draft others want to be involved in the entire process. More often than not, I send a follow-up email. It’s part of the risk of freelance writing.Īfter I pitch, I wait. I’ll spend hours, days or even weeks crafting an article I’d be proud to publish, and I might never see it in print or get paid for my work. Some publications ask writers to submit the finished piece rather than a pitch, such as NYT’s Modern Love column. Most of my time is spent pitching, and I don’t make a dime until an article is assigned. It can take hours to craft a good pitch, and then sometimes I don’t ever hear back. Part of the difficulty of pitching is that in order to create a really good pitch, it’s best to have everything lined up: who I’m going to interview, the angle/focus of the piece, the ability to write it and the willingness to share the story-even if it’s extremely personal.
I joined an online group dedicated to women freelance writers called Binders, which allows me to see calls for pitches and gain motivation from other writers. While cold pitching can result in article assignments, it’s obviously more helpful to have an in.
#FREELANCE WRITER FOR MAGAZINES HOW TO#
Cold pitching is essentially finding the right person to pitch at a publication, seeking out how to contact them and sending them a well-written email introducing yourself and your idea-when you’ve never spoken before. Most freelance writers don’t start out with personal contacts at newspapers and magazines.
Here’s what it’s really like being a freelance writer: Cold Pitching I hope my freelance work can be inspiring, encouraging and meaningful to readers.Īs both an editor (who works with freelance writers) and a freelance writer (who pitches different editors), I have a unique understanding of both sides of the writing and publishing world. I enjoy working for diverse outlets (especially larger publications) and writing about various subjects from personal stories of grief, heartache, love and travel to profiles of amazing individuals improving their communities. It’s a passion, and I’ve managed to make a small income from it. Most of my time is spent writing pitches, researching magazines, finding editors and waiting for responses that never come. It can be difficult to make a steady income as a part-time freelance writer. I spend evenings and weekends crafting pitches and writing stories for various publications from HI Hostels and Insider to The Globe and Mail and this very blog you’re reading. Although I have a full-time job as the managing editor for explore magazine, I work as a freelance writer on the side.
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