5 Ways to Get Work When an Editor Posts a Call for Pitches

This time last week, I was fording my inbox, which was awash with messages from more than 200 writers who were responding to a call for pitches I had posted in two Facebook groups and on my own wall. A couple dozen more messages waited in Facebook Messenger.

Truth be told, I’m still wading through them, since I pledged to respond to everyone who expressed interest in the gig because I consider doing so a professional courtesy.

It had been quite some time since I’d posted a public call for pitches, enough time to have really forgotten how very many off-the-mark pitches an editor receives when they post a call.

Is your pitch on the mark?
Is your pitch on the mark? (Photo by Hey Paul Studios, Flickr Creative Commons)

Having been reminded, I thought I’d offer five suggestions for standing out in the crowd and improving your chance of getting the gig when an editor puts out a call.

1. Make your response relevant.
When an editor issues a call for pitches, they’re generally fairly specific about what they want to see. Some are extremely detailed; others are a bit more open-ended, like those posted by Pacific Standard’s Ted Scheinman on twitter. But the bottom line is this: If the editor is requesting pitches about penguins in Patagonia, don’t email them to say, “Well, you know, I can’t write about penguins in Patagonia, but I have this GREAT story about flamingos in Florida!” — at least not yet. (More about that in #5, below.)

And if I say I’m looking for a writer in Asheville, please don’t message me to say “Well, I’m in Austin!”. And definitely don’t bait me in an online setting with a phrase like, “Where’s Anaheim?!” If I have work for Austinites or Anaheimians, I will let you know.

2. Give what the editor asks for.
If I say I need clips, I need clips.

I work with, mentor, and hire many new writers, but there are certain assignments for which I must have clips, and if I say that, then I mean it, especially if I don’t know you or your work. Avoid using a call for pitches to try to convince me that I don’t need what I’ve asked for.

3. Keep it short…
I can usually tell from the first sentence whether someone is going to be a good fit for a project, and so can most editors. Don’t send your life story or all your bona fides; if we need more, we’ll ask for it. Until then, see #2 again.

4. … but also: Give me something to work with.
If I’ve indicated I want to hear from a writer who can cover Minneapolis, I don’t just want to hear that you live in Minneapolis or that you traveled there five years ago. Tell me how you know it and what you love about it.

5. If you’re just dying to pitch something the editor isn’t asking for, save it for later.
You do NOT want to be that person in the editor’s inbox who is totally off the mark and slowing things down — not at the moment that a call for specific pitches has been issued. Save our names and emails and pitch us later — a week or two afterward is good. We’ll be recovered from the inbox onslaught and will probably be happy to hear from you then… even about those flamingos in Florida.

Have more questions about pitching? Sign up for my six-week class on the subject at Writers.com. The next course starts July 6.

2016 Class Schedule

If you’re interested in taking a class with me, I’m teaching the following courses online at Writers.com this year:

Pitch Like a Honey Badger:
Courses are four weeks long.
Sessions begin on May 4, July 6, and October 5.

The Nuts & Bolts of the Freelancing Lifestyle:
Courses are four weeks long.
The next session begins on June 1.

Creative Nonfiction:
Courses are eight weeks long.
The next course begins September 7.

For more information, or to register, visit my instructor page on Writers.com.

If you’re flying on Virgin Australia or Korean Air this month, find me in your seat-back pocket…

My feature on Mérida, Mexico, is in this month's issue of Voyeur, the in-flight magazine of Virgin Australia.
My feature on Mérida, Mexico, is in this month’s issue of Voyeur, the in-flight magazine of Virgin Australia.


My piece, "Beyond Havana" is in the March issue of Korean Air's magazine, Morning Calm.
My piece, “Beyond Havana”, is in the March issue of Korean Air’s magazine, Morning Calm.

Take a Class with Me in 2016

I’m pleased to announce that I am now an instructor at Writers.com, and I have two classes coming up:

Pitch Like a Honey Badger


The Nuts and Bolts of the Freelancing Lifestyle.

Pitch Like a Honey Badger” is intended for freelancers who want to improve their pitching skills and, by extension, their rate of acceptance and number of assignments. The class starts January 20 and is asynchronous, meaning there’s no set meeting time; you can work through it at your own pace.

In “The Nuts & Bolts of the Freelancing Lifestyle,” I’ll be teaching something almost no other writing course teaches: the finances of freelance writing. This course is designed to help you define what financial success looks like for you as a freelancer and to assist you with developing a concrete, practical plan for achieving it. It starts March 9 and is also asynchronous.

If you’ve ever worked with me before, you know that I’m very hands-on with students and colleagues, offering honest, useful feedback and support that’s rooted in the values of transparency and giving.

I hope you’ll consider registering for one (or both!) of these classes. If you have any questions, please feel free to contact me directly at writingjulie [AT] gmail [dot] com.

A farewell to Frida… for now

The exhibit "Frida Kahlo: Art, Garden, Life" opened at The New York Botanical Garden on May 16, 2015. (Photo: Francisco Collazo)
The exhibit “Frida Kahlo: Art, Garden, Life” opened at The New York Botanical Garden on May 16, 2015. (Photo: Francisco Collazo)

Though I have one more assignment to file related to Frida Kahlo— a 1,200 word feature for an in-flight magazine about Frida’s Mexico City– with this weekend’s opening of “Frida Kahlo: Art, Garden, Life,” an exhibit whose development I’ve been following for nearly a year, I feel like I’m beginning to say a slow good-bye to someone who has been my constant companion for a long while.

There was a piece for Bio.com about Frida’s and Diego’s America; a longform piece for Contributoria about Frida’s enduring appeal; an article for FOX News Latino about the Frida-Diego show at the Detroit Institute of Arts; and two pieces for Remezcla, one about Frida’s love letters to José Bartolí and another about how Frida’s image gets used in fashion and other product placement.

While working on these assignments, I reread work by and about Kahlo and found several texts I’d somehow missed in my nearly two decade long interest in Kahlo, among them Frida’s Fiestas and Self-Portrait in a Velvet Dress. I thought it wasn’t possible to learn more about her.

I was wrong.

Spending so much time with one subject, albeit one who is no longer living, and to have so many assignments about her has been gratifying, a writer’s dream, really. I feel like I’m at the end of this run, though, and will soon be saying a temporary farewell to move on to other projects.

A re-creation of Kahlo's studio from Casa Azul in the exhibit at New York Botanical Garden. (Photo: Francisco Collazo)
A re-creation of Kahlo’s studio from Casa Azul in the exhibit at New York Botanical Garden. (Photo: Francisco Collazo)