On Pitching and Rejection

I still don’t know of any way to deal with rejection other than to take whatever lessons it provides and start planning the next attempt.

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Dear I Have Notes,

I’ve written for local/regional magazines and other publications. I’m trying hard to break into national publications and really struggling. I find editors almost never reply. It’s so hard to even find contact information on whom to pitch. I’m not giving up and I know there are a million resources out there to help, but I was wondering if you had any pitching advice to share?

— A Freelancer

Dear Freelancer,

I’ve received several variations on this question since launching the newsletter. Of course, every publication is distinct and every editor is looking for different things, so offering general pitching advice is a bit of a challenge, but I’m happy to share my thoughts as someone who used to edit full-time while freelancing on the side. Even if not all of this information is new, I hope at least some of it proves helpful to you and to other readers who’ve sent in similar questions.

A pitch should describe the piece you want to write, lay out the case for why it matters, and make it clear that you are qualified to write it. Sometimes you can do this in a few sentences; sometimes you may need a few paragraphs—in any case, you will want to be as succinct as possible and open strong, because editors can see dozens of pitches a day. As they read yours, they will be trying to quickly determine whether your piece would be at home in their publication, whether you are supplying a new angle or perspective on an issue, and whether you have the necessary reporting and storytelling skills to deliver. Doing your research, understanding how your proposed story fits into the broader discussion, and crafting the best pitch you can will make it easier for them to get to yes. Be sure to include links to any relevant work you’ve done that will demonstrate your ability to write the story. If you’ve got a website where all your published clips are rounded up, link to it, too.

As an editor, I was always keen to get a sense of a writer’s style and voice in their pitch, no matter how brief (this was particularly helpful if they didn’t have many clips to share). I liked working with writers who were clearly curious about the world and trying to make sense of it—who were able to guide readers through a thought process in a generous and compelling way—and kept an eye out for pieces I thought might push an audience to question or reconsider their assumptions. And of course, it was always a pleasure to find myself transported by a well-told story—I appreciate when good storytelling offers a way into a topic I may know very little about, or one I wouldn’t have gone looking for on my own.

I know it’s frustrating to pitch and hear nothing. Editors are always busy, and while no one likes to be hounded, it’s totally okay to send one follow-up email after two or three weeks (perhaps sooner, if your idea is time-sensitive). If you do get a note passing on your work, pay attention to any comments that are offered—it can be extremely helpful when an editor shares why they turned a pitch down, and may help you better tailor the next one. When I passed on a piece, it usually came down to one or more of the following: (1) I couldn’t give it the kind of time or attention I thought it would need; (2) it didn’t line up with the mission or wheelhouse of the publication (again, editors can tell when writers aren’t familiar with the outlet they’re pitching!); (3) I had already read (or in some cases, published) one or more pieces covering similar ground, and didn’t think the pitch was pushing the conversation or offering something new; and/or (4) the pitch was too broad or missing a clear point, as if the writer hadn’t yet figured out what it was really about.

I’m often asked how to find more publications to pitch, and the best answer to this and so many writing questions, of course, is to read as widely as you can. I apologize if this seems obvious—of course you are already reading! But you would be surprised how many writers pitch publications they don’t regularly read. If you do your research, you’ll be better able to target your pitches toward editors and outlets that routinely feature the kind of work you are or want to be doing. You’ll see which publications are already covering topics of interest to you, and how you might be able to build on or push their analysis further. When you reach out to an editor, you can mention that you’re sharing a particular idea with them because you read this or that piece in their magazine, and it made you think that yours might also be a fit.

I think it’s often helpful to pay attention to where other writers, especially those whose work you admire, are published. Make a note if they happen to shout out their editors. Ask writer friends where they’ve had positive publishing experiences—even better if some are also willing to talk about negotiation and rates with you. Don’t Write Alone publishes a regular roundup of submission and freelance opportunities, one of many such resources out there (some are free; some you pay for). I hesitate to recommend social media to anyone, ever, but it is one relatively easy way to find and follow editors and learn more about what they’re looking for. Sometimes they’ll put out pitch calls on Twitter, share examples of pieces they found particularly effective, or include specifics about what they really wish they saw more of. Many have their contact info in their bios. You might even hear from an editor or be invited to pitch them because of something you wrote on social media—not every reach-out is going to be a great opportunity for you, but occasionally one may be.

This is just a quick overview; there’s a lot more to say about pitching, and I’m sure it’ll come up again in future newsletters. For now, I’ll close with a reminder that pitching is not just about figuring out what editors or publications may be interested in—figuring out what you are most interested in is vital. What kind of writer do you want to be? What genres, questions, objectives, ideas get you most excited to write? What do you do especially well, and where and how can you offer a new perspective or fill existing gaps in coverage? We all want to learn, to keep trying new things and developing our skills, but it’s worth remembering that you don’t necessarily have to change who you are or what you write in order to get published. Not every publication will be a match for the work you want to do—you’re looking for the ones that are.

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Dear I Have Notes,

I graduated from a creative writing program two years ago. I’ve published a few things I’m proud of, but I’ve also been turned down by so many of my favorite literary journals, and I haven’t been able to sell my book. As a writer, I thought I was prepared to deal with rejection, but I can’t help feeling discouraged. I’m sure this is something you have also experienced, and maybe still do—how have you dealt with it?

— Striking Out

Dear Striking Out,

I’m sorry that you’re feeling discouraged. We’ve all been there (and will be again!), but knowing that you’re not alone doesn’t make it any easier.

While having an editor or a publisher pass on my work never feels good, I try not to think of it as “rejection” so much as a part of the job that will help me get better at it. I might make enough of an impression that the editor will remember me the next time I reach out. I might get a close, smart read that illuminates some problem or weakness I missed. I might hear feedback that helps me reframe the project and find another home for it. Sometimes I find out that there’s too great a distance between what I want to write and what a particular editor or publisher feels is valuable—or whom I center in my writing, and who they think their readers are—and that is useful information to have as well. No matter what, at least I’ve made the attempt, put myself out there, and potentially learned something about what they’re looking for.

I’ve dealt with more failure and rejection than I can possibly recount here, and of course it was much harder to deal with early on, when I thought I might be wasting time I didn’t have trying to get published. Many years ago, an editor at one of my dream outlets took a piece I’d written, did a round of edits, then told me they wouldn’t be publishing it after all—a week after acceptance, it no longer felt “timely” to them. I had published so little at the time, and thought that byline would be my big break. When it disappeared, I realized there was no big break coming, and nearly took it as a sign that I should give up and do something else with my life. In the end, what kept me going was that I still believed in that one piece, even if it was hard to believe in the career I wanted. When another editor accepted it a few months later, it was just enough encouragement to get me thinking about my next story.

I was absolutely right to believe there would be no big break for me. What materialized instead was an array of smaller opportunities that, in time, led to more exciting ones. I still don’t know of any way to deal with rejection other than to take whatever lessons it provides and start planning the next attempt. It’s easier, now, to hear no, thanks or crickets from an editor, because experience tells me two things: (1) I may yet find another home for that story; and (2) for every idea that works out, there will be some that don’t, and that’s okay—I will have another idea soon. I believe this is true for you, too, and for every writer who keeps at it. That’s what a writing life is. I hope that you will soon find more editors to work with, and more readers who will appreciate the work you are trying to do.

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