Just about every journalism contract contains a clause called a “kill fee” that states that if the magazine decides not to run a particular story then it will pay out only a fraction of the agreed upon rate. The writer is then free to sell the story to another publication. The logic behind this policy is that the clause is insurance so that a writer won’t simply accept a contract and then write a half-baked and poorly reported story and then run off with the full payment. Unfortunately the kill fee serves a much more diabolical role in the modern magazine industry. Not only it is bad for writers, it also exposes magazines to potential libel suits and degrades the overall quality of journalism in America.
Last week I had a conversation with a former editor at the New York Times Magazine who told me that they kill between 1/4 and 1/3 all assignments they issued to their on-contract writers. The magazine killed a much higher percentage of stories that they assigned to freelancers who weren’t already on the masthead.
While a kill fee is supposed to be insurance against bad writing, the NYT magazine was using it in a different way. A story can be killed for literally any reason: not only because of poor quality, but because an editor no longer thinks an idea is fresh, or that a character doesn’t “pop” on the page, or the piece was covered in another magazine between the time it was assigned and then scheduled to be published. (Those are three reasons that I’ve had stories killed over the years). Instead publications now routinely use the kill fee system as a way to increase the overall pool of material they can choose from to publish. They intentionally over-assign and account for a certain percentage of killed pieces in advance. Stories that are on the bottom of their list don’t make the cut. This policy has nothing to do with the quality of what a writer submits, rather a business model that intentionally transfers risks reporting onto the backs of their authors.
Anyone who has written for a major publication knows that there is a wide gap between what a writer pitches to a magazine and what they encounter when they are actually reporting a piece in the field. This is the basic disconnect between any proposal and the reality on which that proposal hangs. There is no guarantee that when a reporter gets out into the field that they will find the juicy narrative anecdotes that will make a piece sing on the page. Still, the only way to find out what is happening in the world is to actually do the work, travel to the locations, report the hell out of what you find and then try to write it up.