Have your conservation photography stories been rejected (or ignored) by editors time and time again, but you have no idea where you are going wrong?
If your pitches aren’t getting attention, start by fixing these two things
Plenty of pitfalls can come up in the process of pitching your conservation photography story to publications. Being aware of them is the difference between getting a yes from an editor… or being completely ignored.
I’ve spent years working as an editor, which involved having to sift through tons of pitches. So I have a fairly good idea of what the most frequent mistakes are. And, if you’ve ever listened to other editors, they will point out the same ones that I will walk you through today.
Fortunately, you can avoid these pitfalls altogether by taking the right steps early on in the story creation process so that, once you get to the pitching part, it’s smooth sailing.
Pitfall 1: Pitching a Topic, Not a Story
One of the biggest mistakes I see is pitching a topic instead of a story.
A topic is just an idea, a starting point.
It’s not enough to catch an editor’s interest.
They want a fully fleshed-out story.
Let’s break this down.
Imagine you discover an area with an endangered species. You might think, “This is cool! I’ll pitch this idea.” But an area with an endangered species is just a topic. To make it a story, you need to dig deeper.
Ask yourself critical questions:
- Who are the characters?
- What’s the conflict?
- Is there a solution or not?
- What’s the primary activity?
- What are the driving issues causing the species to be endangered?
By answering these questions, you start to see the narrative arc.
Editors are interested in stories with clear characters, conflicts, and resolutions. They want to see how the story will unfold visually and understand its impact.
Doing this legwork not only makes it easier for the editor but also for you as a photographer.
The clearer you are on the story, the better you can plan your shots and workflow.
Knowing your leading characters and the core conflict helps you envision what you need to capture. This preparation ensures that your pitch is compelling and your project is cohesive.
Pitfall 2: Making Your Pitch Generic
The second common pitfall is crafting a generic pitch that isn’t tailored to the publication.
Editors can easily tell if you haven’t done your homework.
Each publication has its own tone, style, and audience.
Your pitch needs to reflect that.
For example, if you pitch a feature story on a conservation issue to a publication that doesn’t cover hard-hitting features, you’re likely to get a pass.
Or, if your story’s tone doesn’t match the publication’s style—like pitching a serious, scientific story to a publication that prefers light-hearted or solutions-oriented pieces—it’s not going to fit.
You need to tailor your story to fit the publication’s needs. This means understanding their typical content and audience.
Craft your pitch to show how your story fits seamlessly into their editorial line-up.
This extra effort demonstrates respect for the publication’s mission and increases your chances of getting a yes.
Benefits of Avoiding These Pitfalls
By avoiding these pitfalls, you make it easier for editors to say yes to your pitch. It shows that you’ve done your research and understand both your story and their publication. This approach not only makes the editor’s job easier but also enhances your storytelling and pitching skills.
Doing the legwork upfront sharpens your critical thinking and storytelling abilities. It helps you ensure that your hard work in photographing and crafting the story will reach the right audience and have the desired impact.
Conclusion
Avoiding these common pitfalls—pitching a topic instead of a story and making your pitch generic—will significantly improve your chances of getting your photo stories published. By taking the time to develop a clear, compelling story and tailoring your pitch to fit the publication, you’ll make a stronger case for your work.
Remember, the goal is to see your conservation photo stories published and driving change. So dig deep, do the legwork, and craft pitches that editors can’t resist. Happy photographing, and good luck with your pitches!
