Industry experts at the Emerging Writers’ Festival reveal everything budding writers need to know when dealing with the gatekeepers of publishing.
On Tuesday night the Emerging Writers’ Festival attempted to answer some of the most important questions plaguing young writers. What the hell do editors want? What do I have to do to get in their good graces?
Hosted by Meanjin deputy editor Catherine McInnis, the panel represented an interesting mix of publishing pathways for emerging writers. Editors Sam Cooney (The Lifted Brow), Steph Harmon (Junkee.com), Jenny Valentish (Time Out Melbourne) and Angela Bennetts (Cuttings), shared their submission secrets, personal experiences and tips for getting your words in print.
Naturally they started at the beginning – pitching. Highlighting that this is the genesis of any relationship between writer and editor, Harmon pointed out how important it is to get it right because ‘It’s the first thing you read from a new writer’.
While writers beginning their career might think that they need to know everything about submissions before pressing send, the editors revealed that it was okay to ask a publication how to pitch. That is, who to address your pitch to, when and how.
Most people know this, but as Cooney pointed out later in the evening, never address correspondence ‘Dear Sir/Madam’. The advice was to always find out the name of the person you’re pitching to, pitch to editors directly, and don’t dare address them with the name of the former editor.
While these things may seem obvious, Harmon brought up an interesting observation about gender. Drawing on her own experience, and research done in the United States, when it comes to pitching articles there are big differences between the sexes.
‘Women tend to pitch apologetically,’ she revealed. Picking apart emails she’s received, Harmon theorised that female writers pitched half-formed ideas, or at least presented them that way, hoping for the editor to help fill in the blanks. Men on the other hand tended to pitch the equivalent of ‘Here’s my idea! Isn’t it great?’
Keep in mind this came from a female editor, who wasn’t suggesting that women writers lack ideas or talent, but rather confidence. ‘Confidence is the biggest one,’ she said when asked for her pitching technique tips.
Harmon also warned writers against pitching 12 article ideas in one email, while Valentish welcomed it, highlighting the subjective approach of different editors.
‘Write one punchy paragraph for each story pitch,’ said Valentish. ‘And don’t pitch a weekly column (it’s not going to happen) and no four-page features.’
As the other editors all agreed, pitches for ‘something they haven’t thought of themselves’ were highly prized, with Bennetts’ specifically concurring that ‘an element of surprise is great’.
Bennetts had three words of advice: ‘Succinct, surprising, specific.’
The last point is an interesting one with a few implications. The more specific you are, the less likely it is you’re going to generalise and waffle on, making your idea appear stronger and you more confident. It’s also an opportunity to leverage your professional or personal experience – maybe you’re an expert on something esoteric – which is a good way to demonstrate why you’re the right person to write an article.
‘Know what you’re talking about,’ Harmon said. ‘Don’t expect the editor will know more than you do. Also, come with an angle for you idea and if you’ve got contacts that help, list them and who you’re going to interview and in what time frame.’
Organisation is a big thing, especially for editors working in print. If your submission has been accepted and you don’t meet a deadline, you’re unlikely to be asked to write again. Put yourself in the editor’s shoes; they’re about to send something to the printer and they’ve got a gaping hole where your article is meant to be. Digital doesn’t suffer as much in that regard, but e-bulletins without an expected hero article mean editors have to dip into feature reserves, which they rarely appreciate doing.
For Cooney deadlines are a bit different as The Lifted Brow isn’t a daily or a weekly. His approach to editorial differs from the other editors and their publications. Working in a news environment, they don’t have the time to do much back and forth with writers. The Lifted Brow on the other hand, isn’t as constrained.
‘I don’t like it when writers aren’t interested in editing,’ he said. ‘When they’re like “change whatever you want”, that’s journalism but it’s not The Brow, I prefer when they say change it but let me know before you publish it. I want them to care its got their name on it.’
As mentioned above, Valentish doesn’t like the ‘back-and-forth’, which is why she appreciates multiple pitches in an email. Because of deadlines, with her, and by extension Time Out, it’s ‘this or nothing’ when it comes to edits and writers pretty much have to swallow that.
Cooney offers an interesting alternative. He’ll put off publication to get the best possible article or story, working closely with an interested writer to explain editorial decisions, and collaborate on the best result. Of course, this comes down to the kind of writing you do, and the publication that you’re dealing with.
It brings up an important consideration – the relationship between writers and editors. Cooney likes developing a relationship because the publishing industry often operates behind a computer screen via correspondence. He likes meeting writers, and Valentish isn’t against the idea either.
If you’re writing for someone, you can always suggest a coffee with the editor. After meeting face-to-face, your email will get more attention in an inbox and it will be hard for an editor to be dismissive.
‘Don’t go to a meeting with nothing to say though,’ Cooney warned.
Indeed, understanding the publication, identifying any gaps in their coverage or areas they could strengthen will give you something to talk about. Like pitching a half-formed idea, don’t expect them to come up with everything. Tell them what you’re interested in, ask about their deadlines and be conscious of their time.
This brings up the golden rule, which if you don’t know by now you’re in the wrong game – read the publication you’re pitching to. Editors have bullshit detectors like you wouldn’t believe. Their eagle eyes aren’t reserved for ensuring proper punctuation, they’ll be able to tell if you understand their publication, if you get the tone and the voice and importantly, if you’ve just ‘scatter shot’ your submission to everyone out there.
Meanjin has a process to buffer themselves against anyone and everyone submitting. McInnis said that they charge two American dollars to submit, which stops automated pitching software (apparently that’s a thing) and to separate the ‘crazy Texans’ pitching from the other side of the world.
Rather than this fish in a barrel approach, McInnis suggests two birds one stone. Pitch your article to two publications at most, write specifically for them and suit your submission to their style. As Cooney glibly noted ‘The Brow wants everything Meanjin doesn’t’, which apart from being deliciously deprecating highlights the differences between publications.
On the topic of writer-editor relationships, McInnis also noted that aside from sending a ‘case of whisky’, being polite is essential when corresponding with editors. If they receive your pitch and you’ve proven that you’re a decent sort, there’s the possibility that they’ll refer you to more suitable publication. A little stamp of approval from another editor is always a good thing.
This emphasises how important word of mouth is in the writing industry. It’s small, especially in Australia, where it’s undoubtedly a ‘scene’, kind of like the swinger’s scene – everyone knows each other – perhaps just not Biblically.
Initiation into this scene doesn’t demand sacrificing your spouse, just that you attend their events. Literary journals like The Lifted Brow and Meanjin launch their editions, while other journals and magazines host similar events, which many people in the scene attend.
If you’re a bit of a wallflower, there’s another way to get your foot in door – internships. Whether you want to be an editor or a writer, immersing yourself in the publication process forges connections and will give you a better understanding of the process involved. For places like Time Out, you might get to write small pieces during your time there, building your relationships as your writing improves and you gain experience.
The audience were interested in intern applications, eager to know how to get applications accepted. It’s very much the same as pitching – be succinct, outline your interests and know the publication.
Valentish thinks it’s also good to be willing to try a number of different things, from design to editorial to admin. Being an all-rounder isn’t a bad thing in the competitive world of publishing.
