At this point it’s no secret that writers get a pretty lousy deal in the publishing business. Every day someone asks me if there’s a way to fight back. In fact, there’s one common practice that writers take on that hobbles them from the very start, and it’s our fault that the problem exists at all. Most journalism schools, editors, and old-time-freelancers advise new writers to only pitch one magazine at a time when they are trying to sell a story. In turn, most editors assume that pitches are exclusive material and will go as far as to say that they wont even consider an idea if another publication is reviewing it as well. This is called “silo pitching”, and it’s the surest route to penury for a writer.
That silo pitching is the standard method to market story ideas to publications is indicative of just how scared writers are of the people they work for. Most writers tell me that they would never take their ideas out to multiple publications because they worry they might be blacklisted and never find work again. Loyalty, they say, also has its perks because a good editorial relationship might secure future assignments. Unfortunately the loyalty that writers feel to their editors is rarely reciprocated. At the mainstream magazines editors almost always take a very long time to respond to pitches. Even after an initial expression of interest, an assignment can take months—yes months–to finally receive a green light. Sometimes editors don’t even bother to respond in the first place which means that a good idea that might have found a home at another magazine could malinger and die in the inbox of the first editor you sent it to.
A more serious problem with silo pitching is that by extending exclusivity to a single magazine in advance means the the writer has effectively given up any ability to negotiate the contract when it comes time to sign. There’s never a chance to allow the market to value a writers’ work by getting input from multiple potential buyers. Instead the writer has almost no option than accept whatever deal the magazine puts up. This is why bad deals are now the industry standard. Forget the lamentable payment terms, most magazines now also suck away film and reprint rights, offer low kill fees, and won’t pay their writers until months, and in some cases, years after the magazine has appeared in print.
Silo pitching completely violates any attempt for a writer to receive a market value for their work.
In Hollywood and in book publishing exclusivity deals are well compensated. A good script writer might make upwards of $50,000 a year from a single studio just so that they have the right of first refusal on whatever they come up with. That journalists give away this right by default shows just how sick this business actually is.