It's one thing having me harping on about what I think editors are looking for, but wouldn't you much rather hear it from them?
Over the past year, I've conducted interviews with the editors of diving magazines from across the world. Sometimes our conversation lasted 5 or 10 minutes, on others, for over an hour. What you'll go onto read is a summary - the points I believe are pertinent. It's not written up in any way that would be acceptable as an interview for publication. Instead, you should think of it as as set of bullet points, each one a golden nugget for your future as a photojournalist. The line that should get you excited is the one where this editor complains how they don't get enough unsolicited material!
And in case any of you ask - no, I'm not willing to tell you which editor it is. They only agreed to speak to me on the grounds that I would not, under any circumstances reveal their identities. All I can tell you is that each one of them is an editor of some repute.
So, take note, you won't find this information in any 'how to' book or contributor guidelines!
Keep writing...
Brendan
Contributor Guidelines? I like to give writers as much freedom as possible, if we have CG then there’s the possibility that everything will appear to be the same.
I like to chat about each individual article with the writer.
At £/$XX a page this will never make you rich. Now I have X pages I still have the same budget as I did when I had X pages. I'd like to think that anyone who writes for us does it because they enjoy it, not because they want to make money.
I try to edit as little as possible - all I need is for people to take note of the house style, how we refer to depth, distance, days etc.
I expect that the first submission will need editing, and after 5 years, there will be less need as the writer gets better at structuring their work.
A lot of people don’t expect an editor at the end of the phone, they often say, “I didn’t think I would get to talk to you.” I like new people approaching me - if I stuck with the same thing all the time the magazine would never develop. I would never be able to encourage new talent - I now have people who have been with me for over 8 years, they’re loyal as we gave them their break.
I never say never, I’ll return a piece with feedback; you’ve got to give people a try - to bring them on. I don’t get as much unsolicited stuff these days, which is a shame.
There are some people who take good pictures but really cannot write - I try and get them to team up with another writer, to make it a team effort.
Once they get recognised, other magazines want them - they can get stuffed!
A lot can depend on the mood of the editor - don’t call when I’m approaching a deadline! But if I’m not busy - I like to try and foster new talent.
It doesn’t hurt to play up to an editor’s ego!
What skills are important? Determination and an ability to listen.
I get people saying to me that they want to write - I might give them a chance by asking them to write something for the “It happened to me type column.”
A lot of magazines also have websites where you can contribute, add to what is on their website, write trip reports, be part of their community.
A lot of writers use a pseudonym so that they can write for other magazines, but sometimes they give themselves away - don’t give the same article to each editor - it’s the kiss of death!
Commissioning letters - after 7/8 articles I might consider one. I’m a bit cautious though after some bad experiences. There was one writer who acted like a complete arsehole, didn’t do the name of the magazine any good, acted like a real diva, expecting everyone to bow and scrape. You have to remember that you are an ambassador for the magazine; don’t throw your weight around!
What I’m really after is something I haven’t seen before, if they can familiarise themselves with the house style - even better. There are a lot of people out there doing some great diving with deep wrecks and caves, as well as other imaginative dives. But, they can’t write, they can’t provide the balance of facts and emotions. And if it’s too much like hard work, I may as well interview them and write it up. But that can be too much work for me, and it won't get done.
If you can provide me with original, great narrative, 1800 words, then you’re what I’m looking for!
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