Brendiver's World

Contributor Guidelines - Scuba Diving Magazine

In some of my previous posts I've mentioned how editors are just as keen on the articles about their own 'back yard' as they are on the more glamorous and tropical locations.

No more so than in the American based magazine Scuba Diving ('the magazine divers trust' apparently). This title used to have writer's guidelines on its website, but towards the end of 2007 they pulled them. This move made sense as by then they were out of date, the forward planner on them only went up to the end of that year.

But you can find a copy here:

Download scuba_diving_writersguidelines.pdf

Although the site no longer has any guidelines (it does however have a media pack, more of that on another post) I would suggest the advice about what they are looking for won't have changed too much. But you should always do your homework about who's who, the Travel Editor in the guidance is shown as Deborah Kirk. She no longer works at this magazine, you would now need to contact Gil Griffin.

The guidance mentions how the best opportunity for a freelance contributor is in their 'Drive and Dive' section. It's always good to get this kind of guidance, however, you don't really need this information -it is possible to determine what the best opportunities are for freelancers without contributor guidelines.

By examining the past year's worth of Scuba Diving and the name of each article's author, what becomes very clear is that the Drive and Dive articles are nearly always written by freelancers while the main feature articles within the magazine are invariably written by magazine staff or regular contributors.

In this month's Drive and Dive (June 2008) there is an article about diving the wrecks of Tobermory, Ontario, text by Robert Osborne and photography by Warren Lo, as well as a short piece about diving in the Balmorhea State Park, Texas, by Amar Guillen.

A Google search on these names tells me that Robert Osborne hasn't had much published, but his buddy, Warren Lo has his own photography website. From this you can ascertain that he is based close to Tobermory. He's clearly followed the 'write about what you know' advice, or in his case, get someone else to write about what you know, you provide the pictures.

Amar Guillen has had quite a fair bit published going back to 2004. He has a website with his partner where they describe themselves as professional freelance photographers - the site lists a number of titles they have been published in. They appear to be based in Texas, once again, another freelancer who has written about an area they know about.

I congratulate the authors and photographers of both these articles - by noticing the opportunities in their own back yard, they have put themselves in a position where they can be counted on to provide accurate information for the magazine.

I hope this demonstrates how this kind of research on a magazine title can provide you with invaluable information in respect of freelance opportunities.

In a future post I'll examine the house style within the Drive and Dive section of Scuba Diving magazine. Although there are no longer any guidelines, it is still possible to ascertain exactly what the editor is looking for from the common style used in these short features.

If I were just starting out, I would go for the Drive and Dive as one of my first challenges - it's one I believe you would have a good chance of succeeding with.

Keep writing...

Brendan

Contributor Guidelines - Sport Diver Magazine

Sport Diver magazine (USA) is probably the largest diving magazine in the world and although I don't profess to like their style of writing, if I ever left the freelance agreement I have with DIVER magazine (not to write for other publications) this is a magazine I would target.

Their Contributor Guidelines are hidden away so deep in their website the only way I managed to find them was through a Google search. In-case the magazine pulls them for any reason (Scuba Diving magazine did this a few months ago) here they are complete with my analysis of what they mean for any budding photojournalist. Just because a magazine does not promote its CG does not mean they don't accept freelance contributions.

Keep writing...

Brendan

WRITERS AND PHOTOGRAPHERS GUIDELINES

Sport Diver magazine has over 250,000 readers who are newly certified scuba divers and active dive enthusiasts. Approximately 30,000 of those readers are PADI Divemasters, Assistant Instructors and Instructors. www.sportdiver.com has hundreds of thousands more. Because Sport Diver is the official publication of the PADI Diving Society, the vast majority of its readers are certified through PADI. The following statistics, compiled by PADI, reflect – in part – the composition of Sport Diver's readership.

There are 8.5 million certified scuba divers in the United States (all agencies)  PADI certifies 70% of divers in the U.S. and 55% of divers throughout the world  72% of divers are male and 28% are female  62% of divers have an average income above $50,000  39% of divers are in professional/managerial occupation  58% of divers are married  50% of divers have a college degree  The average age for divers is 36 years old

More specifically, Sport Diver's readership is broken into two age categories: 18-28 and 42-55. Both groups are predominantly male. Most of the 18- to 28-year-old group has been certified two years or less. Leisure travel and outdoor recreation compose the majority of vacation and free-time activities for both groups.

Analysis

The above introduction sets the scene - 'these are our customers.' You should take note of this and think about what this cross section of society would want to read about. On my workshops and seminars one of the biggest messages I promote is that when you write, there is only one person you are trying to please -the editor. In these few paragraphs the SD editor is telling you who is important to them. Write for their readers and you'll please the editor - simple.

MAGAZINE STRUCTURE:

Dive Briefs covers the most current news and events: Political and regulatory news, record-setting events and notable happenings, plus books and videos

Regular columns are written by regular columnists, but supplemental articles are welcomed:  Diver's Ed. (dive education and health), Images (still photography, video, digital photography), Gear (equipment) and
Features (articles 1,000 – 3,000 words in three main interest areas). (We're also interested in photo essays focused in any of these categories. Photo essays must have a clearly defined theme.)

Analysis

You should take note of any CG that use words like 'welcomed,' and 'interested in,' to describe a specific subject - this is your invitation to write around these areas, and thereby increase your chances of successful submission.

Travel: represents the majority of feature articles. (It also represents the majority of submissions we receive.)

Analysis

This hint isn't subtle at all - they don't really want these types of submissions (but if you have a spectacular story I wouldn't let this put you off). If you go through the pages of SD magazine you'll find most of the travel articles have been put together by regular contributors or SD staff.

I know several editors who are reluctant to entrust high profile travel articles to anyone but their trusted cadre of writers. A lot rides on the completed articles in terms of advertising revenue and reputation - an unknown and untested writer is just too much of a risk. But there is no reason why you shouldn't join the cadre - you just have to serve your 'apprenticeship' first.

Destination: articles report the on hot destinations and their diving styles, attractions, amenities and culture. The articles are usually an overview of the flair and flavor of an island or country. Topside activity is of equal (in some cases greater) importance as the diving. We also cover exotic travel, which must have a dive angle but need not be solely about diving.

Do not submit articles that are glorified travel itineraries or simply a dive-by-dive chronology of your last vacation. These articles will be rejected.

Analysis

If you are going to submit travel based articles the above tells you precisely what it must be and what they will bin - I guarantee that the majority of the submissions to SD do not follow these instructions. Precisely the reason they have included the latter paragraph.

The below three paragraphs provide you with story angles - which means this is what you should write around as your theme if you want to get published. Of interest is the pointer for, 'adventures in our backyards,' I know a few editors who are always on the look out for closer to home submissions.

Adventure: anything that out of the ordinary. Adventure always means some form of unusual activity, but it doesn't always take place at far-flung destinations. There are good adventures in our backyards.

Critters/Environment: some aspect of marine life or ecosystems. These can include the quest for a rare encounter, the quirky nature of a little-known creature, how and where to find specific species, or overviews of the worldwide condition of a species or habitat.

While conservation is a priority issue for the majority of divers and the staff of Sport Diver, we will reject extremist diatribes on behalf of specific organizations, unfairly balanced articles or negative attacks. Be very careful if you are considering this type of article, and be sure that all of your sources and facts can be independently verified.

Travel News: One lead story 250-400 words and occasionally a second item 50 – 100 words. Focus on news of air travel, sea travel, resorts and globe-trotting. May include focus on expansions, improvements or new additions.

Analysis

Travel News - an easy route to get published. But you'll have to keep your eyes and ears open to get the news in before it becomes common knowledge. I wouldn't focus on any organisation or destination that already has a media strategy as they will automatically send a press release to all the diving publications.

Travel News Listings are short news blurbs about destination and specials, discounts and dive-travel packages being offered at destination around the world.

WRITING GUIDELINES:
Before you submit anything, READ THE LAST TWO ISSUES OF SPORT DIVER MAGAZINE and REVIEW OUR WEB SITE. Ask yourself if your idea fits into a section of Sport Diver (if it does not, the odds are slim that we can publish something that deviates from our editorial structure and vision). Please keep in mind: It is virtually impossible to sell to Sport Diver unless you are extremely familiar with the magazine's voice and tone.

Analysis

BLOCK CAPITALS to emphasise this point tells me they are sick of reading submissions that do not fit in with their, editorial structure and vision.' I would read more than the past two issues, I'd go for the past year's worth. I meet quite a few budding photojournalists who tell me they have an 'article' they are going to submit to different magazines to see if any of them will use it - they are all destined to fail. You must write to the style of each individual magazine to succeed.

In all but the rarest of cases, manuscripts must have publishing-quality photography. We want topside photography included. Photos often sell the story. If you are strictly a writer, let us know if you can connect with a photographer and send us samples of that person's work.

Analysis

Don't even bother unless you can get hold of quality photographs.

Full-length feature stories are usually assigned to our editorial staff or to regular contributors, but we are always looking to establish new relationships with writers and photographers. Do not be deterred from pitching us sound ideas. (Just remember that you are selling yourself as much as the story concept.)

Analysis

Don't be a 'dick.'

If you want to become a regular contributor you must be professional in your approach. It might be a hobby to you, but to the staff at SD, this is their business and they will have no time for people who act like divas or mess them about. Remember - if you are on an assignment for SD you represent their brand and being the biggest diving magazine in the world, they will be very protective of their brand.

All feature articles need the following information included as a sidebar:

Phone, fax, e-mail and Web site URL for all cited sources and dive operators. (We don't need postal addresses).

Analysis

The sub editor will most likely check these - cardinal sin in the magazine industry? To submit duff info.

Traveler resources: map location, transportation to destination, topside activities and/or points of interest, climate (and/or best time to dive), entry/exit requirements or taxes, currency, language, tipping practices, water potability, electrical current, tourism board info. 

Dive operations: number of boats/divers on boats, equipment type/condition, type diving/parameters, ancillary services availability, (camera rental, E-6 processing, etc.). "Doing it like a local," "it" being anything -- partying, best beer, best restaurants, best beaches, local customs you need to know about, etc.

Analysis

On my overseas workshops I walk the students through all of these topics and more. The penny soon drops - a destination assignment is not just one big holiday!

All manuscripts and queries should follow these format guidelines:

Use a serif font (such as Times Roman) in 12 or 14 pt.  Do not add extra hard-return line spaces between paragraphs. Indent new paragraphs using a tab space set 0.5 inches. Do not use five space-bar spaces to indent. Single-space after sentence-ending punctuation. (Do not double space between the period ending a sentence and the capital letter beginning the next sentence.) Italicize boat names, movie titles and book titles.

Analysis

Simple really - submit your copy as per the above, no deviations, otherwise you'll end up in the round file.

We pay $300-$500 for feature articles (text only). We pay $50-$150 for Briefs, Travel News opener, or short Passport stories (text only). Long Passport stories pay up to $400 (text only).

PHOTOGRAPHY GUIDELINES:
Our priority is quality. We prefer digital images on CD or DVD in RAW format, but will review 35mm slides. Larger formats are accepted. Rarely will a photo print be reproduced in the magazine, but they may be used on the Web site. Originals or dupes are accepted when reviewing slides (indicate availability of originals). Do not send original slides with queries, and never send the only copy of a digital file. If you send slides and your idea is accepted, we will request originals. Label all slides with photographer's name and address and/or phone number. A caption sheet must accompany all accepted submissions unless otherwise agreed. All submissions must include a sheet documenting the number of images submitted and the article to which they belong. We purchase one-time rights, including the use of photos on the Sport Diver Web site within the context of the original article.

PRINT RATES:
Cover $1,000  2-page spread $200  Page + $175  Full page $150  Half page + $125  Half page $100  Less than 1/2 $75  "Spot" $50
Separate rates will be negotiated for photos used on the Web site outside the original article with which they appeared in print.

SUBMISSION PROCESS:
Ideas for Feature articles should be submitted via query letter sent e-mail or regular mail at the addresses below. We will respond via e-mail unless you do not have e-mail availability. (If you don't, get it immediately if you plan to be a writer.) If you want materials returned via regular mail, enclose SASE, but be aware that, these days, most writers prefer response via e-mail. No multiple submissions accepted. Please allow 6-8 weeks to receive a response to queries. All queries must meet the following criteria:

Succinct statement of concept and style/approach (no more than three short paragraphs). Availability of photos and their source. Samples help sell stories. Send dupes of 35mm slides, or JPEG or tiff file e-mail attachments. Do not send originals. Sport Diver will not be responsible for the return of unsolicited original photos. Brief professional biography - any special credentials you hold and previous writing experience. Include photocopies of previously published clips. Sport Diver will not be responsible for the return of unsolicited original clips.  Your complete mailing address, e-mail address and phone numbers.
Submissions for non-feature article items can be made either as a query or complete text submission. Include photo samples or a source for photos. (Sport Diver will not be responsible for the return of any unsolicited photos.) All submissions must include your complete mailing address, e-mail address and phone numbers.

Analysis

A lot of work to prepare your article to SD's requirements - vital if you want them to accept your submission, do not deviate from these guidelines. Published clips are mentioned - a way of checking out your track record - there's nothing to say they have to be paid articles. I was chatting to an editor the other day who mentioned how examples of previous work are important and whether the author was paid or not was of no consequence to him. 

All manuscripts must be submitted in one of the following formats:
E-mailed attachment (preferred) or CD-ROM in Microsoft Word or compatible software (plain text format is acceptable).  Do not try to arrange your manuscript like a magazine page; that really doesn't help us. Do not submit hard copy without a digital attachment.

RELATED ARTICLES 

How do I contribute?
I recently returned to the US after living for 1 1/2 years in the southernmost islands of Japan. Wonderfull diving. My island was elected best diving spot in Japan for several years in a row. Ishigaki Island. I also dove Yonaguni Island (famous for Isseki point). I am a new subscriber to Sport Diver and am wondering if you would be interested in my contributing an article with photos for Sport Diver magazine. Looking forward to your response.

Spider Photo
I would love to share a photo in the sport diver magazine if you would be interested. It is a photograph of a water spider that was taken while diving in Cozumel Mexico last October. Hope you consider this.

Analysis

The above two individuals read the guidelines (or did they?) and then promptly ignored them (complete with spelling mistake - Wonderfull?). What was encouraging is that Ty Sawyer (the editor) replied in a positive way.

Now here's a good wheeze - an update

I posted the below a while back and unfortunately, my gushing and glowing letter for Scuba Diving magazine didn't get published - perhaps the mention of being in Europe wasn't a good move?

Anyway - their letters page this month was still full of gushing and glowing compliments and the one that won the Scubapro kit bag was one of the most sweetly sickening I've ever read, how his 3 year old daughter brings him the magazine every month. This month even she noticed the new format, "Daddy! Daddy! This one is bigger too!" Oh Dear - vom time!

The below is my original letter, you never know, they may be saving it for next month?

And below it, my original post.

Keep writing...

Brendan

I’ve just picked up the latest copy of Scuba Diving from a newsstand in England – I thought it would make a change from the same old stuff I read in the British diving magazines. And all I can say is “Wow – what a good read!”

The photographs are stunning and the advice on flying and diving might just explain why, on my last dive trip, I went down with some kind of bug after getting into the water just hours after two long haul flights. Dehydrated, fatigued, that was me.

The only thing I’d pick you up on though, out of the “27 Must See Destinations” you didn’t feature anywhere in the Red Sea, the diving playground for Europeans. Come on Scuba Diving, how about some coverage for your cousins over the water? Maybe even an article on the great diving on the West Coast of Scotland? It might be cold water, but it can certainly match what the rest of the world has to offer!

Steve Jones, Manchester, England   

Thinking about the ridiculous contents of Scuba Diving magazine's letters pages I've come up with what may turn out to be a good old wheeze.

And I might even get to 'win' a wet suit, dive mask, dive bag - whatever freebie the office has lying around gathering dust.

The aim? Get a letter published in Scuba Diving, one that is so 'gushing' they won't be able to resist publishing it.

I'll keep you posted.

Keep writing....

Brendan

Spotting Opportunities - Front Cover Shots

While there are magazines with Contributor Guidelines that ask for certain things from freelance writers and photographers, others don't have any guidance at all.

However, they do give away a lot within their pages - for any budding diving / travel journalist these clues are as good as Contributor Guidelines. 

Take this month's Sport Diver magazine (June 2008) as an example. You only have to go as far as page 3 to find your first opportunity.

The front cover of a turtle and diver is not from any freelance contributor, instead it is from the stock photograph agency, Image Quest Marine. This tells me that the editor is probably short of good front cover shots - so if you have any photographs that would be suitable, now would be a good time to market them. I can guarantee it will cost the editor less to use your photographs than those from an image library.

There are quite a few magazines that even advertise the fact they are always looking for cover shots. Bizarre eh? You would have thought the market would be flooded with underwater photographers clamouring to get their pictures on a front cover.

More about what editors look for in a front cover shot, as well as the other clues they provide in respect of their needs another time.

Keep writing...

Brendan

Your Story - John Liddiard

I'm really grateful to John Liddiard for his contribution to the 'Your Story' post.

John is one of the few full time diving journalists I know who is not directly employed / contracted to a magazine (by this I mean someone who has [email protected] as their e-mail address). His work is published every month in DIVER magazine and his coverage of UK diving is unsurpassed. As John says, this was the niche he found for himself. Bizarre that the one thing editors want more of is what lies on the doorstep of most UK diving magazine contributors.

If you want to compete with John for his niche in DIVER you have no chance, he's too well established and too good at what he does. But there is still room for others to squeeze in with UK based articles - if you can come up with a new angle on an old theme or a completly new angle / diving location with good pictures you are likely to get published.

As John does this for a living, he will not write for nothing. However, if I were starting off I would still consider writing for no fee for small titles as long as it gets you published.

What I would say though is mirrored in my 'Keep writing...' sign off. You should only do this until your work doesn't 'suck' anymore and until someone is willing to pay you. Don't get ripped off - if the magazine is making a profit you are entitled to some of it (I would make an exception if I were writing for a charity). Don't be afraid of asking for a pay rise - if they won't pay you're being a doormat, dump them.

So, here it is, John's story.

Keep writing...

Brendan

Your Story – John Liddiard

Underwater photography had been a fringe interest of mine ever since I learned to dive. For years I used a succession of cheap and short lived cameras in equally cheap plastic housings to take mostly awful underwater snaps. Eventually I began to take photography more seriously and, after many visits to Ocean Optics with much pawing and pondering and testing of Steve Warren's patience, I invested in a Subal housing and a Nikon 801 SLR.

A few weeks after any club trip we would have a “pics and curry evening” where those of us with cameras would show and talk about the results of our exploits. Friends began suggesting that some of my pictures were good enough to be published, but I never really believed them or got round to it.

It all changed in 1995 when a one of these friends wrote a short piece about a club trip  and submitted it with some of my photographs to DIVER magazine. Looking at the printed result I thought “I could do that” and my new career was born. Rather than watching television in the evenings I began writing articles and sending them with photos to diving and travel magazines.

One of the pictures from John's first article

I had been expecting a high rate of rejections, but it didn’t happen that way. Editors seemed to like my work and if one editor turned an item down I could usually change a few words and get it accepted elsewhere.

UK diving magazines were suffering from a shortage of good UK material. As an enthusiast of UK diving, I was able to target a gap in the market. I began to get commissioned work. Editors would ring me up and say “We are doing an issue on X, can you put something together”. All this and a lack of free time to go diving gave me the insane killer idea. By multiplying what I was making by a working week, I could leave my previous job as a computer geek and become a diving photographer and journalist full time. At the start of 1998, that is what I did. Even more insane, it worked.

Self Portrait

My tips for those wanting to have a go:

-         Look for subjects similar to what a magazine already uses (i.e. the editor likes), but not repeating anything published recently.

-         Look for obvious gaps in a magazine's coverage, but consider why before investing too much effort.

-         Don't overdo the flowery prose and clichés.

-         Your submission should be well written and free of typos.

-         Make it fit the size of article the magazine uses.

-         Make it easy for an editor to say yes. If they receive 2 good submissions on the same subject, they will use the one that requires least work to fit it into the magazine.

-         Don't approach tour operators and dive centres pretending to represent a magazine unless the editor has agreed to you doing so. When you get found out, you will be blacklisted far and wide.

-         When you get a rejection (or an acceptance) ask for feedback, but don't start an argument. Most editors are nice people who like to encourage potential when they have time.

-         Don't get sucked into “vanity publishing”, accepting little or no fee just to see your name in print. It de-values the market for you and everyone else. (I am making a rare exception writing this for Brendan). If you want to be a professional, your income has to exceed your expenses.

 

What? No Contributor Guidelines?

So - you've set your heart on writing for a diving magazine and you are going to be a diving journalist. You have a bank of publishable underwater photographs, several diving adventures under your belt and a good idea about how you would write them up in a new and interesting way. You decide to start off with one of the smaller magazines only to discover that they don't have any contributor guidelines.

This could be for numerous reasons:

The editor already gets enough unsolicited submissions and they don't really need anymore (but if yours is better then the rest, they'll still take it).

The editor isn't quite sure what they want, but they'll know it when they see it (a bit like quality, hard to define, but you know it when you experience it).

They haven't got round to writing them yet.

This shouldn't put you off - every magazine has to fill its pages every month and there is no reason why your copy shouldn't be on them. So, what can you do to find out what they are looking for? Unless you know the editor (always a bonus) isn't it going to be difficult to figure this out?

Not really - I'll use a case study to illustrate what I would do if I were thinking of pitching to a publication like the Underwater Journal.

The simplest and most direct way of finding out what the editor is looking for is to ask him or her. Obvious I know, but I'm forever reading posts on travel writer's forums from would be and supposedly experienced writers asking the question, "what are editors looking for?" This is a really big question, a bit like asking a group of people, "what does quality look like?" - I guarantee, every answer will be different.

So just ask them! If the editor has their contact details on their site or in their pages, it means they want people to write, e-mail or talk to them depending on what type of contact details they publish. The worst that can happen is that they don't answer the phone or reply, in which case I'd leave it a week, or ask one of the PA's (if they have one) when the best time to call is.

I figured out that Walt Stearns was the man behind the Underwater Journal even though the e-mail address for the magazine is an 'info@...' one. A little bit of homework will go a long way, even if it's just to find out what the editor's name is - better to write, 'Dear Walt,' than, 'To whom it may concern.'

And so, as a possible future contributor, I asked Walt what he was looking for. This was his reply:

Yes we do you accept freelance contributions. While we don’t have any formal set contributor guidelines established, the best way to see what we are looking for is to go back through all the issues (1 – 4) of the Underwater Journal. Articles from contributors that I have been impressed with have come from Douglas Ebersole, Bill (SeaYoda) Tipton and Ned Deloach.

I am not worried about your writing skills if they happen to be not very fluid or flowery. Truthfully, I see enough of vapid crap floating around with the writer going on and on about what it is he or she did, but, by the time your done, you still don’t know anymore than when you started.

What I look for most is to give the reader information as to the who, the what, the where and the why, as well as the how. Namely by addressing what it is they’re seeing, what makes it interesting, what they need to know on how and where it is they can find or get to it. We also not afraid of working copy in need of heavy editing. As long as you provide us with plenty of detailed information we can work with, we are likely able to make something out of it.

As far as topics go, sky is the limit – gear, travel, science, exploration, techniques, medicine, animals, photography, etc. As long as it pertains to diving and/or the marine environment, it’s going to get our attention.

So I will be interested in what ideas you might have. Especially if it pertains to diving here in the good ole U.S. of A. Even if it is something you might have done for another publication. There is always a way to rewrite something to make it sound new or with a different, even fresher perspective.

Our present rate for submissions (text and photos) is $200. I know that sounds small, but we are still in the growing stage of making ends meet. As we grow those who work with us now will see those rates improve as well as get the opportunity for comp (dive resort and live-aboard) travel to cover other stories.

We can also provide the advantage of Internet advertising – live link to your business (photo sales, shop, services) or business you are affiliated (dive shop, operation, training agency, etc.).

Regards,

Walt Stearns

561-624-7390

561-715-3164

www.waltstearns.com

                                                         

Walt's first paragraph is excellent advice - if you want to know what the style of the magazine is, read it!

                                                                                                                  

And note how 5WH appears as a guide to what to include (see the below post).

                                                                                  

They also pay, $200 for an article isn't bad as a starter, and as this is a newish magazine (since Jan 2007), I can imagine there would be opportunities to become a regular contributor. This would, as Walt says in his reply, lead to commissioned assignments where your trip is paid for by those hoping to promote the destination or service.

                                                                                                      

So, what else can we find out about Walt and his magazine? To ensure my copy and photographs meet the magazine's needs I'd research what else Walt has been involved in. Thirty minutes with Google revealed the following:

                                                                                                       

Walt is the 'managing member' of Aquafield Communications LLC, Business Consulting Services, based at 313 Kelsey Park Cir, North Palm Beach, Florida. Aquafield Communications own the Underwater Journal and as they only employ one person, whose name just happens to be, Walt Stearns, you now know that this is a one man enterprise.

                                                                        

Walt's partner, Zena, may also be involved in this business, both Walt and Zena appear in an advertorial for Zeagle BCDs.

                                                                                                

Walt hopes to launch a dive directory called The Aquapages.

                                                                            

Walt is a contributor to over 20 fishing, boating and diving magazines (you could learn a lot about diversifying from his website). I would read what he has had published elsewhere to get a feel for his writing style and then try to duplicate this in my copy.

                                                                                                 

Walt has an aspiration where: "we're partnering with Scubaboard to provide this collaborative forum site with the most current and informative content available." Not sure where this is up to, but I'll find out.

                                                                           

The readership of the Underwater Journal is: 41% USA, 21% Europe and 17% UK (isn't this in Europe?) - so I would write for these markets.

                                                                                                             

There's more stuff about Walt out there on the Web, but to go on might seem a bit creepy - is there such a thing as Internet footprint stalking?

                                                                                           

So, when you discover there are no Contributor Guidelines, take some time out to do a bit of research, you'll find they exist, they're just not very obvious.

                                                                                          

Keep writing...

                                                                                          

Brendan

Worth Pulping Trees for? - Saudi Aramco World

Thanks to Lorraine Chittock for sending me information about a lesser known (unless you read it of course!) magazine called Saudi Aramco World.

From the magazine's introduction:

"Saudi Aramco, the oil company born as an international enterprise 75 years ago, distributes Saudi Aramco World to increase cross-cultural understanding. The bimonthly magazine's goal is to broaden knowledge of the cultures, history and geography of the Arab and Muslim worlds and their connections with the West. Saudi Aramco World is distributed without charge, upon request, to interested readers worldwide."

How about that? The opportunity to get published in a magazine that has been published since 1949!

If you search their site there have been several articles about diving, going back to the 60's, so they have room for more.

And if any of you are thinking, "my principles won't allow me to write for a magazine sponsored by an oil company," my advice would be to get off your high horse. As a journalist you have an opportunity to contribute to the world out there, and while you might not agree with some of the issues you write about, what better way is there to influence and change opinions? And who is to say yours are right?

You can find their contributor guidelines here.

What I found interesting about them:

An open invite from freelancers with a mention that the contributions are almost all freelance.

What they publish: "Positive and non-political stories of lasting educational value about aspects of the Arab and Muslim worlds, their arts, history, geography, biography, cross-cultural connections and trends."

With a little imagination it would be easy to weave in an idea which includes diving and aspects of cross-cultural communication, for example, working as a dive guide from either perspective, as a Muslim who may be native to an area (I'm thinking of the Red Sea here), or as a non Muslim European working on a dive boat with Muslims - how the two cultures manage to work alongside each other.

Or how about this one - the cultural diversity in a town like Sharm El Sheikh from the diving industry's perspective, at what point do you stop being a European, American or Egyptian and earn the title, "Sharmer?"

Sometimes editor's inject a little bit of humour into their CG, for example:

"Clear narrative focus and a peg are essential. The reader needs to know right away why this story was worth pulping trees to publish it."

I'd bear this in mind with anything you write.

The guidelines are very precise in respect of how to submit queries, so follow them to the letter or you will end up annoying the editor (can you guess what will happen to your copy if you don't?).

And they do pay - varies according to what you are submitting and who you are.

There are excellent CG - and if you're not so bothered about writing for this title, I'd take a look at them anyway. All CG are of worth - they tell you exactly how editors think.

Thanks again Lorraine,

Keep writing...

Brendan

Your Story - Dr. Alex Mustard

I'm very pleased to welcome Dr. Alex Mustard to the "My Story" section of this site. Alex is an outstanding underwater photographer, marine biologist and a fellow contributor to DIVER magazine as well as numerous other titles - you can find out more about Alex's work at his website. 

Alex is spot on with his views on the diving magazine world and how to break into it as a journalist. He mentions the need to create a niche - a reason for editors to invest in you. You'll often hear me talk about creating exclusivity and as one editor I know succinctly puts it, "the ability to provide the material I didn't know I wanted."

Initially this can seem quite daunting, how do you come up with the idea no-one else has developed yet? Well, I'd suggest you take a look at the music industry for inspiration, since the Beatles and Elvis, have there really been any major changes in popular music? Or is all 'new' music just an amalgam of an old recipe, twisted and turned into a new product?

As you experience your diving world, think about it from new angles and question it:

I wonder what people would think about.... if they saw this issue from another perspective?

That's interesting... I wonder why... happens?

An enquiring mind is an essential piece of a journalist's toolkit, and the good news is, while some are born with this skill, it is one I believe can be developed by others.

Interestingly, Alex has never thought about himself as photo-journalist, the thing is though, he is. Several years ago I was considering going on a course to learn about how to become a journalist. I researched everything that was available, from on-line learning, courses at universities, to the "You could earn thousands as a writer!" nonsense. Finally I called my editor and asked him what he recommended. He seemed quite surprised I was even considering this route, "you've covered travel features, interviews, news stories and complex issues - you are a journalist already." I guess there are some titles in life you can earn without a course or qualification. 

I'm very grateful to Dr. Alex Mustard for providing his story - how he became a noted photojournalist.

Keep writing...

Brendan

Your Story – Alex Mustard

                                                                                                

I was quite surprised when Brendan asked to me to write about getting started as a photo-journalist as I have never describe myself as one! I am an underwater photographer – I write as a necessity. Usually a financial necessity. That said, I do hold editorial positions on five underwater magazines (Dive, UK; FiNS, Singapore; Ocean Geographic, Australia; Underwater Photography, UK; Wetpixel Quarterly; USA) and contribute to many more on a regular or occasional basis. I have been a full-time underwater photographer since March 2004, before which I worked a marine biologist.

                                                                                                                        

My route into the business was by taking nice pictures. Winning international photography awards got my name known and has brought me plenty of offers of work. I have rarely pitched for work or submitted on spec – I just about have time to do everything I am offered: books, advertising and magazine work. Like Brendan honestly admits, I do not consider myself a naturally talented writer and I have to work hard to pen decent text. Before doing this professionally, I improved my writing skills by volunteering to write for Underwater Photography Magazine, I was only paid £50 a time, but this was an excellent education in the art of crafting articles. I still enjoy writing for that magazine – although I no longer get paid! That crafty Rowlands fellow. I think I must be the only magazine contributor who has negotiated his way to zero pay.

                                                                                                                                 

Marine life article on evolution in hamlet fish, in Issue 1 of The Sea Magazine (UK). April 2008.

                                                                         

My main motivation for writing for diving magazines is to provide a regular income to keeps the cash flow going between more lucrative, but sporadic advertising and book work. I enjoy it too. It is also a good route to complementary travel and it raises you profile, which leads to more work offers etc. I tend to write about underwater photography and marine life. I rarely write dive travel features and have never written a dive kit review (except for underwater camera equipment) as these interest me less. Plus others do them very well.

Nobody goes into underwater photography to make bucketfuls of money, but many will also tell you it is impossible to make a living, which is untrue. My annual income is now 2 to 3 times what I was paid working the University (which admittedly was not a bulging City pay-packet). The challenge is getting going - surviving long enough to get known and to build relationships with magazines and other clients.

Article about critter diving in DIVE Magazine (UK). April 2008

JB also raises a very important point. This is not a career for the work shy. The basic problem is that in UW photography/photo-journalism the pay per unit work is relatively low. Therefore to make it function as a career you have to do lots of units of work. It is a simple equation, but people forget you get paid for the articles and images you sell not how many trips you do or how many photos you take. Perhaps the biggest mental change I made when “going pro” was to move the point of satisfaction from taking a good photograph to selling it.

                                                                                                            

Finally, and most importantly, the key to success is profit, not income. You must be restrained with your expenditure to turn a profit. Being a pro does not mean you can buy every piece of photo kit or travel everywhere you have dreamed. I have always wanted to go to Galapagos, but although I can afford it, it is not a good way to make profit. Instead you’ll find me on a complimentary trip to the Red Sea. That’s the reality of doing it as a job, rather than trying to earn some cash from a hobby.

                                                                                                             

It is important to consider all aspects as a business. Many photographers look at diving magazines and say “my photos are as good as those, they should publish mine”. The error in this line of reasoning is that the magazine already has a contributor who can produce that work. And they know and trust that contributor to deliver appropriate quality material reliably and regularly. They are not going to take a risk on you unless you can offer something different or better, or ideally both. Like any business you must create a niche for your product – a reason for editors to invest in you and not someone else. Also like any successful business you must deliver quality goods on time. Magazine deadlines are sacrosanct. Leave an editor with blank pages to fill at the 11^th hour and you will not be working for that magazine again. Keeping a good working relationship with the customer (editor) is very important. As it would be in any line of work. All that said, editors are always on the look out for new talent. The door is always open.

                                                                                                                                    

Taking nice underwater photos provides all sorts of opportunities (and incase our friends across the world don't know who these smartly dressed individuals are, it's only the Queen and Prince Phillip! - Brendan).

                                                                                                                  

What has amazed me most in this job is how quickly you go from nobody to well known in this industry. It is a small place and I am shocked by the doors that have opened for me, just as a result of taking pretty pictures. My final piece of advice relates to this. The diving industry is not massive and the media side of it is even smaller, so treat people how you would like to be treated.

                                                                                          

Dr. Alex Mustard

Behind the Scenes - anatomy of a diving and travel article

Have you ever read a diving travel article and wondered what goes on behind the scenes?

I've just had an article published in DIVER magazine called, "Market Forces," about diving in the Algarve, Portugal. Click on the thumb nails to read it, and at the same time I'll explain how it came about.

Like most assignments, it started with a phone call from the editor asking if I would be interested in the trip. Prior to this the PR agency who represent the Algarve had been in touch with the magazine to offer one of its journalists an opportunity to visit the area with a view to putting together an article on the area's diving.

I found out later how for 2007 Algarve Tourism were targeting niche markets as opposed to geographic areas. In previous years they had promoted their business in countries where they wanted to increase the number of visitors. But in 2007 they changed their strategy to attract visitors who wanted to do more than just lie on the beach. So if you were a journalist in a niche area: golfing; cycling; windsurfing or diving, you were an attractive proposition. Hills Balfour Synergy handle the contract for the Algarve in the UK and helped arrange the flights, hotel,diving and hire car through the Algarve representatives in London and Portugal.

So, back to the Algarve. This was one of those trips where I had to find the angle on arrival, and fortunately the first contact we got to dive with was a real character. Salvador provided more quotes than I could use, and also provided a wealth of information about the environmental issues in the area (over-fishing and coastal building work). He's also one of the most prominent figures in the Algarve diving sector and was able to provide invaluable introductions to some useful contacts.

With the blessing of the Algarve Tourism representative assigned to this visit (who met us at the airport with a big smile, despite it being about 2200 on a Friday night following a full day at the office - PR is a long hours game) we changed the programme. Budgets would have been set for this visit, so to go outside of the programme without OK-ing it with the representative would have been poor form.

On the second evening we had dinner with the representative. This is common practice, a way of making sure, in an informal way, that everything is going to plan, and more importantly, whether the journalist is getting enough material. A few evenings later we went back to the same restaurant - our representative was there again, only this time she was entertaining ten Czech journalists. You need to be nice to the representatives - theirs is a busy life.

Unfortunately, the week was set back by poor weather, so we went on a tour of the Algarve checking out every dive operation we could find. Only a small part of our findings went into the article, just enough to rescue the piece as we had only completed five dives before the weather closed in.

We picked up several pages of quotes from visitors, locals and dive guides as well as detailed descriptions of dive sites and the history of the wrecks we dived on. I collect everything while I am on assignment, pamphlets, maps, booklets, photographs of dive sites, I even photograph restaurant menus. I operate on the premise that the one piece of information you decide to leave behind is the one you will need at a later date.                                                                                  

I'm a big believer in quotes - they "people the landscape" with characters and enhance the narrative so it's not all your opinion. The quote which really stood out was Salvador's, the one about the fish being in the market. I knew I would use it when Salvador said it, but just how remained a question at the back of my mind until our last night when the local fishermen were trying to get Salvador to reveal where the fish could be found. Sometimes it really does work out just like this, I knew instantly that I had my beginning and my end. Even after a plateful of good seafood and several glasses of wine, you still have to be alive to the opportunities as they present themselves.

Salvador at the restaurant Marisquera Fialho in Sino de Pinheiro, Luz de Tavira, great place - the best seafood

Back in the UK the process of writing it all up started. I sometimes meet people who think you might do two or three drafts before you send your copy off, but the reality for me is about 40 drafts, sometimes more. So, if you're about to put your first article together, and it all looks a bit messy after your first draft, don't worry, this is the way it is!

While doing this I also contacted Hills Balfour Synergy to provide them with an update on the assignment. I believe it's professional courtesy to report back on how the trip went (but not before you do so with the editor!). They tried to push Monarch Airlines by sending me a proposal for a paragraph that could be placed in the fact-file. We really appreciated the extra legroom seats, the free meal and drinks on board, and they are a quality airline, but they are also competing for the word count. They got a sentence.

As the week progressed it became clear that Algarve Tourism didn't know anything about the diving in the area, so, I prepared a set of bullet points for them on who could be trusted to provide them with some guidance for future trips. Always look after PR contacts, they may be the key to your next trip.

To go with the article I sent about 20 photographs, all captioned with a mix of landscape and vertical,

This one didn't appear in the article - but I kind of like it, and it links in with the opening sentence

above and below the water, including some 'arty' shots of all the anchors lined up on the dunes. This is the sort of shot the art editor might use to illustrate the article as a background shot. But on this occasion it wasn't selected.

Several months after the trip, the article appeared in DIVER.

Are you persuaded yet? Do you still think these assignments are journalist jollies?

Keep writing...

Brendan

Your Story - John Bantin

Any photojournalist who describes himself as a, "scurrilous hack," is very welcome to contribute to the "Your Story" section. And so, for the first time in 'print,' here's John Bantin's story.

If you don't know who John is (really? You've never heard of him?) he's the technical editor of DIVER magazine.

John is feared among diving equipment manufacturers for his sometimes scathing, and nearly always correct reviews of dive gear. He's also written some quite insightful articles on destinations and diving practices.

From John's story I believe the lesson on how to get published is quite simple:

Find interesting stuff that's going on and write about it.

Oh yes - there's one more thing. John mentions how he has never worked so hard since he got into this business. He's not joking you know. The life of a photojournalist isn't just one big set of holidays, you have a job to do and the pressure is on. Next month's magazine won't wait - you have pages in it that need filling. And if you can't, or you try and fill them with rubbish, well, you can guess the rest.

Keep Writing...

Brendan

The Full Nine Yards

Back in the late 'eighties I owned a house in Mallorca. I wanted to go diving but there was no dive centre nearby so I bought a RIB boat, compressor, tanks and so. Many friends from England would join me for diving trips. Then I hit on the idea of the diving-timeshare. I bought a second home, a second boat, compressor and four sets of kit and intended to time-share it to members of the British Sub-Aqua Club. (That idea was a failure because I soon realised that few BSAC members could be trusted to manage the operation.)

I needed publicity for this and persuaded a friend who also worked in the Media to write an article about me in Mallorca which we got published in the official organ of the BSAC - then Diver Magazine. Shortly after that I was on a work trip in Indonesia and took some time off to go diving.  During one dive my upstream regulator completely failed and I had to swim out of a wreck and make a free-ascent from more than 30m deep. I wrote about the experience and Diver magazine published it. After that, every time I went on a diving trip I managed to write an article and get it published. It seems they liked my style! Maybe it was because I was a professional in the Advertising business and I brought a professional way of working to what was then a very amateur magazine.

I told the publisher Bernard Eaton not to bother to pay me for articles but send the money to the BSAC Lifeboat Fund. I later got a letter from Derek Ellerby, the then Chairman of the BSAC, telling me that the BSAC had just bought a new inshore life-boat and I was the major benefactor! It seems I was getting rather a lot of items published.

One thing led to another. Eventually I gave up work to retire (at the age of 42). At this point Diver Magazine offered me a contract and since then I have never worked so hard in my life.

JB

(LtoR) Mike Valentine Mike Wong, John Bantin, Alex Double, Lesley & Bob Brading, Lawson Wood on Lady Jenny V in about 1988.