Some Freelancer Questions

[Chris Cesarano]

So I'm ever so slowly making progress on being a freelancer and learning some of the ins and outs of everything. I'd like to try and get some ideas in to paying websites though I'm finding it tough to get the time mixed in with the other two sites I'm currently involved in. However, there was one thing I was curious about.

Let's say you get a review copy of a game from one website and write a review for them. Is it bad etiquette if you want to write a completely separate review for another site as well? I imagine it becomes a bit problematic since you'll find yourself bringing up the same points multiple times, but it seems to me something like that can be reused for different sources.

I do understand that some sites will also have different rules regarding this kind of thing. One of the sites I am writing for may allow it, I'm uncertain, but I'm pretty sure the other one wouldn't.


In addition, if you send a website a pitch for an article and don't get a response in a week or two, should you follow up just to be certain?

I've gotten recommendations from people here before as to what sorts of websites to pitch to, but thus far have gotten no responses. However, when I made the pitches I didn't bother to really research the features or editorials usually featured on the sites and as such didn't really think of an article with a voice that would fit that site. Now I just need the time to do the research, but it would be nice to know which sites are good to probe. I've been told Ugo and GamesRadar are good to check out, as well as The Next Level. Anyone know how tough it is to get featured in something like Shacknews, 1Up, Edge or Ars? I'm about ready to give up on The Escapist since so many people submit to them to begin with, and I always have trouble thinking of anything for their issues.

I'm basically trying to see if I can earn even a little off of this as I haven't been able to find a job since graduating and I've discovered more and more that this is the career I want. So I figure start now and see what comes up (plus, holidays around the corner and I hate being unable to buy people stuff for Christmas).

Any advice is appreciated.

[Tim Nichols]

In terms of following up with pitches, do it, quicker the better i believe. Even if you get turned down, you're maintaining contact with them and they get to know you. This is critical because you'll make yourself relevent to the editors so they know you're serious.

In terms of reviewing the same game for multiple sites, it depends. I'd definitely check with your editors. If you do a different angle it may be okay, but you have to check the contracts your signing to make sure.

[Ben Kuchera]

Let me weigh in on a few issues here, especially since you mentioned pitching to Ars in your post.

1) For me as an editor, I wouldn't want you essentially re-writing a review for us if you've written about the game for another site. Why say what you believe again in slightly different words?

2) If you don't hear anything back, it's okay to send a follow-up sooner rather than later. Say that you'd like to hear a yes or no so you can move the pitch to another site. If they like, they'll pay for it. If they don't, they'll say so.

Frankly, I get a lot of freelance pitches. I'm always open to them, but the majority tend to be stories that are glorified top ten lists or stories that look back. We're not interested in those. Give me something that ties into a current issue in gaming, with a wide variety of interesting sources and you're doing better than 95 percent of the pitches we get. Pure analysis or opinion won't fly though; we're looking for original research from freelance work.

I hope this helps.

[Chris Cesarano]

Thanks. I'm used to writing op/ed where I go from knowledge off the top of my head, and when it comes to thinking about research in games I'm not quite sure what it is I would research that I don't already know. But that sort of thing comes with experience and I imagine I'll learn over time.

Ars is definitely a place I'd be more interested in freelancing, though, as I've checked several sites and you're right. Most "features" are basically lists. I can do those at times, but I prefer discussing concepts in a style more akin to Gamasutra, Edge or The Escapist.

Another question I was curious about is whether I should include a draft of my concept or not. Typically people say "no" since you don't know the exact word length or other specifics the editor is looking for, not to mention time constraints on their hands, but it just seems like it would get things across better in terms of what I'm going for.

[Ben Kuchera]

When it comes to research and gathering quotes, you may feeling like you know everything about a topic, but the best stories come when you find out that's not the case. If you're doing a story about game ratings, for instance, it's hard to speak with authority on a subject. But if you have quotes from the ESRB, from a retailer, and from a developer or two, you have hard evidence to back up your claim. It's easy for readers to dismiss a freelancer they've never heard of, but if Patricia Vance says it, that's a news story.

Here's how I like to receive pitches: give me the concept behind the story and a list of sources. That's all I really need to see if the story has merit. The sources bit is important, because if you simply give opinions off the top of your head, people are going to wonder how you know these things, and saying you read it online isn't a good answer. You need to talk to people, get the real story from the people out there doing it, and then bring that to us. Again, the best stories come when you think you know something, and by talking to the principals involved, you find out you don't.

For instance, let's say you're doing a story on independent developers releasing their games on Steam. You think the story is going to be how this makes it easier for indies to get their product out, but by talking to people who have shipped games in this manner you find out that Steam actually have a rough approvals system, or the book keeping is complicated, or something else. Suddenly you have a story no one else has, and it's different from what you expected.

The only way to put a spot light on these issues and find the real stories behind them is by hitting the phones, talking to people, keeping your rolodex up to date. Figure out who knows more about a story than you do, and talk to them to get their opinion. A story without research and sources can almost come off like a rant.

Even my staff writers pitch me stories every week, and the first question is "who do we talk to?" Then we brainstorm people who would have a good take on the issue we're writing about, and we talk to them about it. This is a big business; it's rare that we come back from a phone or e-mail interview without being fascinated by what we learned.

Here's what I'm looking for in a pitch:

"Even with digital distribution and services like Xbox Live, it seems independent game developers still have a rough road getting their game to market. We're going to look at the challenges ahead of small teams in the modern market in this story, and I plan on talking to 2D Boy, Jonathan Blow, as well as an executive from EA who will explain why having a large publisher behind your game can help."

That's it. If you can get those sources and deliver that story, that's a freelance pitch I'd give a whole lot of attention to. You have two sources who know what's it like creating an indie game and then getting it in front of gamers, as well as someone from the other side explaining why going purely independent can be harder than it needs to be.

Sometimes you need to shotgun these a little bit and come up with five or more sources hoping at least three will get back to you and speak on the record, but original reporting is crucial.

[Chris Cesarano]

Ahh, I get the idea. So basically, in response to all this controversy on Modern Warfare 2's opening scene with civilian killing I've been waiting to play the game myself before chiming in my personal thoughts. However, I've still got a bit of an opinion in mind concerning the delivery, in that the whole "show how these guys are evil" thing worked extremely well in MW1 by simply putting you in place of the victim. The opening credits where you are the politician getting executed, for example, was an incredibly immersive experience that got some of the emotion across. By placing you into the hands of the killer, you don't quite get that same sense of evil. It may work better if you were an unarmed civilian trying to escape these men only to meet your demise.

However, I wanted to wait until I played it for myself before I went out and made any claims. Even then, my opinion would not be enough? I'd have to reach out and find perhaps a cinematic game designer, or someone that's done similar narrative methods like Gabe Newell, and get their opinion on it. That's generally more along the lines of what you're looking for?

[Troy Goodfellow]

I'm not an editor like Ben, but I write my favorite features the way he recommends. Feature stories that are think-pieces or glorified columns do have their place (hello, Escapist!) but my most rewarding work has come from contacting developers or producers and painting a portrait of a piece of the industry, like when I wrote about the history of Ensemble when it was shut down or my "What's the deal with Facebook games" article (both for Crispy Gamer, which gives me a lot of leeway if not a lot of money for this sort of thing.)

There are, of course, problems with the research and write, i.e., real journalism, approach. In an industry that prizes timeliness there are few places that will let you get away with the time it takes to really craft a solidly researched article. As with all research projects there's always the temptation to get one more source, which takes time but may not pan out.

But this is where the work is and, in my opinion, where the talent will show itself. I love a good review and a good column as much as the next guy but there is no shortage of informed opinion on the internet. My former magazine editor paid top dollar for real features, though, because that was what - in his opinion - separated his magazine from others.


On the other questions:

1) Never write a review for two different outlets unless both know and approve. I think it's bad form to do the same job for two different people, though I understand that in some countries this is not viewed in the same way. So look at the cultural norms you are working in.

2) Always follow up. Editors are busy, they may have passed your pitch on to someone else and forgotten, etc.

[Chris Cesarano]

So it looks like bigger, respectable publications will be something I'll need to shoot for after I've gotten more experience and established more contacts. Considering how most major publications seem to have features completely focused on lists and such, I've got a limited starting point.

I'm starting to wish I went to College for journalism/communications to begin with so I'd be all set by now.

[Troy Goodfellow]

Lists are easy to write and cheap to produce and also lead to lots of hits. But they are so easy that no freelancer who hasn't already established him/herself is going to be asked to write a list. Unless you've got something really unique on your list, most of us can write on up in a couple of hours.

I went to college for political science. And look how helpful it is!

[Will Thompson]

I have a communications degree and, thus far, it has only served my hobbies. Thank goodness retail will employ people who would rather be elsewhere.

[Nathan Meunier]

AMEN! A gaming publication that actually operates like a legit newsroom! Bravo, Ben.

[Andrew Webster]

I have the best boss ever :)

[Adam]

This thread renewed my faith. Thanks!