The pitch is the hardest piece of writing many freelance writers ever do — not because it requires the most skill, but because the stakes feel so high and the format is so unfamiliar. We know how to write articles. We've been reading them our whole lives. But pitching? Nobody teaches you that.
This article is for writers in New Zealand who want to write for magazines, newspapers, and publications — and who want to understand how commissioning actually works, and what an editor needs to see to say yes.
What a pitch actually is
A pitch is a short proposal — usually 200 to 400 words — that makes the case for a specific article idea. Not a vague area of interest. Not a general topic. A specific piece: what it is, why it matters right now, who you'll talk to, and why you're the person to write it.
The editor reading your pitch is asking four questions. Does this idea suit our publication? Is the timing right? Can this writer deliver? And — the one that actually determines most decisions — do I have space for this and the budget to commission it? You can influence the first three. The fourth is largely out of your hands, which is why persistence matters more than most writers realise.
Before you pitch — read the publication
This sounds obvious. It is routinely skipped. Editors can tell within a sentence whether a writer has read their publication seriously or whether they're sending a generic pitch with the masthead swapped out.
Read at least three recent issues. Understand the sections, the tone, the word counts, the kinds of sources used. Look at what they've published recently on the topic you want to pitch — not to avoid those topics, but to understand the angle that's already been covered so you can offer something genuinely different.
The NZ magazine market is small. Editors know each other, freelancers are visible, and your reputation travels. A carefully researched pitch to one editor is more valuable than ten generic pitches to ten.
The structure of a strong pitch
A NZ magazine pitch typically needs five things, in roughly this order:
The hook. One or two sentences that make the editor want to keep reading. This is usually the lede of the article itself — the observation, question, or moment that makes the story interesting. If you can't find a compelling hook, you may not have a story yet.
The argument. Why this story, why now, why this publication. What's changed, what's at stake, what makes this timely. This is where context and news hooks live — an anniversary, a new development, a cultural moment, a trend that's just breaking into public awareness.
The sources. Who you'll talk to. Named people where possible — "I'll interview Dr Sarah Jones from the University of Auckland, who has just published research on this topic" is considerably stronger than "I'll speak to experts." NZ is a small country. Showing you already have access to good sources is significant.
Your credentials. Why you're the right person to write this. Keep it brief — one or two sentences about your relevant experience or expertise. If you've been published before, one or two relevant clips linked in your signature. Don't list everything; choose what's relevant to this pitch.
The practical details. Proposed word count (check the publication's typical feature length), suggested section of the magazine, whether you can supply photography, and any deadline considerations.
"A carefully researched pitch to one editor is more valuable than ten generic pitches to ten."
Length and tone
Short enough to read in two minutes. Long enough to make the case. For most NZ magazine pitches, 250 to 350 words is about right. The pitch itself should demonstrate your writing — clear, direct, engaging, in the publication's register. An overwrought pitch for a practical, conversational magazine is a mismatch signal.
Don't apologise for pitching, don't explain that this is your first pitch, and don't ask the editor to call you to discuss. Make the case in the pitch itself. If they're interested, they'll reach out.
Where to pitch and how to find contacts
Most NZ magazines list editorial contacts on their website or in their masthead. For features, you want the features editor or, at smaller publications, the editor directly. For specific sections (food, travel, lifestyle), pitch the section editor if one is listed.
If you can't find a specific email, the general editorial address is fine with a note that it's a pitch for the features editor. Publishing is a small industry in NZ — your email will usually find its way.
Following up
Wait two weeks before following up on a pitch. Then send a single, brief follow-up: "I pitched this story on [date] and wanted to check if it reached the right person. Happy to answer any questions." That's all. If there's no response after a second follow-up a week later, the answer is probably no — or the timing wasn't right.
A no — or silence — on one pitch is not a relationship-ender. Editors remember writers who pitched well even when they didn't commission the piece. The follow-up pitch is often the one that converts.
When you get a yes
Get the brief in writing — agreed word count, angle, deadline, payment rate, payment terms, kill fee if applicable. Even a brief email confirmation covers you if things change later. Then set up a project in your project management system, note the deadline, and start the work.
The stage between "yes" and "filed" is where most commissions either succeed or quietly fail. A system that tracks where the piece is — research, interview, draft, submitted — is worth building from the first commission.