The Power of a Pitch with Linda Falkenstein
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To wrap up my summer interview series for writers who are struggling to figure out how to get published more often, I had a live chat with newspaper editor and award-winning writer Linda Falkenstein (which can be streamed via the Lit!Commons platform). She started freelancing for Isthmus Community Media in 1995 with a book review, and then soon moved on to other arts coverage such as theater reviews. Falkenstein officially joined the editorial staff in 1999 as special sections editor before becoming the features editor—and eventually, associate editor (her current role). She then helped shepherd “Isthmus” from a for-profit, alt weekly to a non-profit, monthly publication during the first year of the COVID-19 pandemic. In addition, Falkenstein was a developmental editor of college psychology textbooks for the now-defunct Brown & Benchmark Publishers, and was recently named one of the winners of “Wisconsin People & Ideas” magazine’s 2024 Fiction & Poetry contest.
She has been working as a professional writer and editor for almost 30 years. So when it comes to pitching paid content to publications, she is a true expert. Curious to know what Falkenstein thinks makes a compelling pitch? Read on…
What are the “nuts and bolts” of hooking an editor’s attention when pitching articles?
Lead with the facts and be sure to showcase that you are well informed about them from the outset (example: include who or what you will be using as source material). Also, mention how long you intend the story to be.
Generally, if you (the writer) are excited about the topic, that enthusiasm will show through. Also address what makes the piece you are hoping to write relevant for the intended audience. Is something new happening? What is different about the angle you’ll take? If it has been reported on before, but a number of years ago, indicate how the story has changed.
Here’s an example:
“Kiki Schueler's house concerts are an irreplaceable presence in the Madison music scene. Her 400th show will likely fall on July 21 with the Kevin Gordon Trio. What do you say if I do a thousand words on her reflections as a non-profit basement impresario? I'm thinking of a tightly edited Q&A with a narrative intro.”
It is equally important to regularly read the publication in question to get a sense of what they report on and are interested in, as well as to avoid pitching content too similar to recent features. In addition, don’t pitch national stories to publications that concentrate on local news. Regional publications usually want “national trends” localized.
What are a few pro tips for developing—and maintaining—good working relationships with editorial staff?
- Ask the editor how to best communicate. Phone? Email? Text? And whatever the answer is, check that mode of communication frequently.
- Don’t get too bent out of shape about edits. Of course, you want to keep everything in accordance with the facts. So definitely speak up if the edit has screwed up any. But don’t get too devoted to clever ‘turns of phrase' that the editor cuts. There’s probably a good reason for it.
- If life circumstances arise that prevent you from being able to complete an article (or meet the assigned deadline), let the editor know as soon as possible. Better to be proactive than to mistakenly hold off—hoping that somehow you will still be able to do the assignment or get it in on time.
What is the most challenging component to editing other writers’ work?
There can be a conflict when I want to honor the writer’s intentions or creativity, but need to make the story clearer to the reader. For me, the need for clarity always wins out in these situations. Because the question both the editor and the writer should be asking is ‘Does it serve the reader?’.
Falkenstein shared additional insights related to getting started when you have no previously published work in our video interview—a web exclusive for Lit!Commons subscribers.