Writer’s aid: Getting more assignments from editors

By Lindsay McKenzie

“Being an editor is a hard job, but being a writer is harder, especially a freelance writer,” said Josh Fischman, senior editor at Scientific American and moderator of the afternoon session “Writer’s aid: Getting more assignments from editors.”

Joining Fischman on the panel were Ann Finkbeiner, a freelance writer; John Travis, managing news editor at Science; and Cori Vanchieri, features editor at Science News. Together they discussed what freelancers should and shouldn’t do when working with a new editor – from the conception of that first story idea, through the editing process, and beyond.

Pitching perfect

The first stage in any successful writer-editor relationship is to make a great pitch, the panelists said. Familiarity with the publication you’re pitching to is an important first step. Travis said he appreciates pitches that specify which section of the publication they are intended for. He also stressed the importance of originality and a clear news peg. Stories based on press releases can easily be covered by staff writers, he said.

Travis also said he values honesty. Do you think the science you’re reporting might have flaws? Say so. Have you seen coverage in the publication previously or elsewhere? Talk about it, and explain how your piece will be different. Disclose any potential conflicts of interest upfront, and be clear about what you’re agreeing to from the start – some publications might expect detailed fact-checking or image ideas.

Knowing how much time to spend working on a pitch is difficult, Finkbeiner said. She aims never to put a word on a page without money, she says, but it isn’t always possible. She urges writers to make their pitches as complete and concise as possible. “Think like an editor,” she said. “They’re busy, and they have a budget.”

Writing a draft

While writing your draft, communication with your editor is key, Vanchieri said. If you think you’re going to run into deadline issues, or the story has changed significantly from what you proposed, you need to let your editor know as early as possible. Editors don’t like surprises, the panelists agreed.

If you’re feeling overwhelmed by a story, Finkbeiner suggests waiting a day before calling your editor in a panic. Fischman said even the best writers can sometimes feel lost and he’s previously spent hours on the phone helping writers make sense of their material. Travis said there are times when stories just don’t work out, and that he respects when writers tell him this. He says publications can offer a ‘kill fee’ for such cases.

The editing process

Vanchieri said several rounds of edits are normal for any feature article, even for veteran writers. She urges writers to approach edits with “grace and humor” and to remember that it is collaborative process. While cooperation with edit suggestions is appreciated, Travis and Fischman warn writers not to be afraid to push back when necessary so their voice is not lost.

Finkbeiner says that she has experienced some edit suggestions that “made perfect sense” and some that she described as “stupid,” “wrongheaded,” and even “insulting.” She noted the importance of remaining calm throughout this phase to maintain the relationship for the future. “I remember that this person is a professional, and that I am a professional,” she said.

“None of us wants to be a jerk,” Fischman said. Though editors might sometimes get things wrong, he urges writers to remember how dependent editors are on them. “We’re kind of desperate people,” he said. “We need writers, and we need good stories.”