the craft. the editor says yes.
So much emphasis is always placed on pitching. How to craft it, develop our ideas, and know the right things to say. We recently hosted a workshop with managing editor of CRWN Magazine Ashley Simpo on this very topic. We’re so used to rejection as writers, but what exactly happens when an editor says yes? For the next four weeks, we’ll discuss Life After the Pitch.
You’ve worked so hard on getting the pitch right. Reading other pieces on the site to ensure that your idea is unique and that your voice matches the tone. You’ve pumped yourself up, hit send and you get that faithful email back that says, “I love it!” What the hell happens after that?
Well, typically a few things may happen in the initial email back. They may ask how soon you think you’ll be able to file the story which is essentially turning it in. A draft at least. We’ll talk about the revision process later. And they also may tell you then and there what their budget is for the piece if it wasn’t already mentioned. Here is where it gets tricky for a lot of writers.
In thinking about how much you’re being paid for a story, there are a couple of questions to ask yourself. Does it call for a lot of reporting or is it my own rambling and musing in a personal essay? Will I also have to conduct interviews? Is there a short turnaround time that now pushes other work back for me? And what’s my bottom line? There can be a lot to consider there.
I’ve been writing professionally at varying levels since about 2013 I would say. At a certain point, I pretty much decided I didn’t want to write anything for a publication for less than $300. Like nothing felt worth it under that pricepoint for me if it couldn’t at least cover a bill. However, I remember a certain publication accepted a pitch of mine and offered $150. I took it and here were a couple of reasons why:
I wanted a byline in this pub to diversify my portfolio. As someone who doesn’t pitch all the time, occasionally I like to add something new to my freelancing work. Gotta stay current in these streets.
The story had been canned by another publication where I received a kill fee. With only some minor tweaks and updating, I was going to be paid again for the story to actually run. This is what we call a win win.
While some people are all “never write for exposure” or “less than you’re worth” and all that nonsense, you have to decide what’s right for you. And always remember that you can negotiate. A lot of writers get self-conscious about this idea. But it’s just business. Even with that piece, I told the editor my bottom line and she mentioned she was at the end of her budget and I think they were able to do $200 by the end of it. So it wasn’t my bottom line but it was a little more than offered, which to me showed good faith. It’s dollars and cents. Either the editor has the money to pay you or they don’t and then the decision is up to you.
Once you’ve agreed on the particulars, you should then be sent a contract of some sort. All publications have different ways that they administer their contracts but a few important things to note:
That it includes what you all agreed on in the email including the rate, due date, word count and that all important kill fee line. I’ve only had this happen to me once. But sometimes for whatever reason, your story gets scrapped. And you shouldn’t be out of luck. The publication should pay you a percentage of the original fee you all agreed upon.
Clauses that say “in perpetuity” for the licensing term which in the words of Cardi B means forever. This can come into play if you decide you want to do anything else with this work in the future like say include the work in your own book down the line. There are a lot of other terms in these sections and not that this is an immediate no, but you should at least know what that means. I’ve signed contracts with this in it, if I didn’t have a particular connection to the work. Know that this can sometimes mean that they too can exploit the work in print or whatever else they choose.
Net payment. This is one of the hardest parts about being a freelancer. Sometimes the payment period does not begin until the article is published. So you can only start counting your 30 or 45 days after the story goes live. It’s hard out here for freelancers.
I’m not an attorney and you should seek professional assistance for any contract that you may need to understand more fully. I’m only a girl sharing some things of note. Remember contracts can also be negotiated like fees. It’s called a redline. So if there are things that you’d like to change or update, you can send changes that they would then need to agree on before the contract is fully executed. Don’t ever sign anything you’re uncomfortable with. Remember that just like the contract holds them accountable, it also holds you accountable as well.
Once upon a time, I started the work on a piece before I had a contract. Agreed on the pricing. Revised with the editor. And guess what? All of a sudden the editor went missing. And what could I say? I didn’t have a contract. Now I’m sure maybe emails may have been permissible evidence. I don’t know, maybe I should still see about that, honestly, because I can’t tell you how hot I still am thinking about that $800 I never received. I had to sit myself down from pitching for a while after that.
When the contract is signed, it’s time to get to work. Bringing the piece that you pitched to life. And you best deliver.
Next Week: We'll be covering the article drafting process.
Writing/Job Opportunities
For Yahoo Life Erin Donnelly is looking for (male or male-identifying) writers who can cover parenting from a father's perspective, both essays and reported features. Rates start at $250. erin.donnelly@yahooinc.com.
Blavity’s Commerce and Consumer Media division is hiring commerce writers for brands: Travel Noire, 21Ninety, home and texture. Pay is $20+/hour; max: 30 hours. Send résumés, clips & a short bio to kayla.grant@blavity.com.
The National Book Critics Circle accepts applications in the spring of each year for our Emerging Critics Fellowship. The fellowship seeks to identify, nurture, and support the development of the next generation of book critics. (Deadline 5/5)
The Business of Fashion seeks applicants for Third Annual Black Journalists Fellowship. ($1500/mo)
The New Republic is hiring a Senior Editor. ($106k, NY or DC)
USA Today is hiring an LA-based Reporter for Life, NOW. Evening Shift, 12-8pm PT. (55K)
MIT Technology Review is accepting applications for their Emerging Journalist Fellowship. ($20/hr).
The New York Times is hiring an Editorial Assistant, Opinion Audience. ($74-75k)
To Be Read
7 Newsletters That’ll Help Your Book Get Published
Brittney Griner’s Memoir to Be Published
10 Books By Black Authors to Add to Your Reading List This April
7 Books About Hauntings By Black Women Writers
Discover the Technique Behind Philly Poets’ Work