Writers' & Artists' Yearbook 2021

By Bloomsbury Publishing

The latest edition of the bestselling guide to all you need to know about how to get published, is packed full of advice, inspiration and practical information. The Writers' & Artists' Yearbook has been guiding writers and illustrators on the best way to present their work, how to navigate the world of publishing and ways to improve their chances of success, for over 110 years.

It is equally relevant for writers of novels and non-fiction, poems and scripts and for those writing for children, YA and adults and covers works in print, digital and audio formats. If you want to find a literary or illustration agent or publisher, would like to self-publish or crowdfund your creative idea then this Yearbook will help you. As well as sections on publishers and agents, newspapers and magazines, illustration and photography, theatre and screen, there is a wealth of detail on the legal and financial aspects of being a writer or illustrator.

• Language: English
• Publisher: Bloomsbury Publishing
• Release date: Jul 23, 2020
• ISBN: 9781472968159

Book preview

Other Writers & Artists titles published in 2019 and 2020

Writers’ & Artists’ Guides to . . . Series

The best advice on how to write and get published

Guide to Getting Published by Alysoun Owen

Writing for Children and YA by Linda Strachan

How to Hook an Agent by James Rennoldson

Guide to Self-publishing by a team of self-publishing experts

NEW in July 2020

Children’s Writers’ & Artists’ Yearbook 2021

‘It’s the key that will help you unlock the world of publishing.’

Samantha Shannon

NEW in October 2020

The Organised Writer:

How to stay on top of all your projects and never miss a deadline

by Antony Johnston

‘Antony has uncovered a secret I wish I’d learned twenty years ago; writing benefits way less from inspiration than from sound process.’

Merlin Mann

‘I’m a messy-brained writer. The Organised Writer helped me to tidy-up, and improved my working life on a daily basis.’

Kieron Gillen

You can buy copies from your local bookseller or online at www.writersandartists.co.uk/shop

Writers’ & Artists’ team

Editor Alysoun Owen

Assistant editor Eden Phillips Harrington

Articles copy-editor Virginia Klein

Listings Editors Lisa Carden, Rebecca Collins, Lauren Simpson

Editorial assistance Lauren MacGowan; Sophia Blackwell (poetry)

Production Controller Ben Chisnall

A note from the Editor

The Editor welcomes readers to this edition of the Writers’ & Artists’ Yearbook

The Yearbook 2021 is all that you would expect it to be: a fully updated collection of articles and thousands of listings with details of who to contact across the publishing and wider media industries. But this edition also reflects a year that has seen great, unexpected change in the way that we are leading our daily and creative lives. I am writing this at the start of May 2020, a couple of months before this book will be published at the end of July. On the shelves above my desk I have a copy of the 1933 Yearbook (yes, we really are that old, or I should say established; the very first edition was published in 1906). Words from the ‘Preface’ to that 1933 edition seem particularly apt now, written at another time of world crisis, but they also provide support and a reminder of the reason this Yearbook continues to appear each and every year:

The ever-increasing sales of the Writers’ and Artists’ Year Book [sic] show that the present times of depression are leading more and more people to seek a livelihood with their pens. But the majority of these are as sheep without a shepherd, and it is the purpose of this book to act as shepherd to the thousands of MSS, which are turned out every year and of which only a small minority ever appear in print.

The lockdown that has been enforced because of the covid-19 pandemic has had an impact on many of the organisations and associations listed in this book. Some of them have been undeterred and are delivering virtual classes, festivals, book readings and similar online events. At the time of writing, these include a brand new online ‘antiviral’ literary festival, BookBound 2020 (www.bookbound2020.co.uk), the BBC Culture in Quarantine virtual arts festival (www.bbc.co.uk/arts) and the annual Hay Festival’s first fully digital edition (www.hayfestival.com). The lockdown has affected writers in other ways, too, and it frames much of the advice offered by the authors of this year’s new articles.

In his lucid and inspiring Foreword, S.J. Watson reminds us of the intrinsic necessity of storytelling: ‘We’ll always need stories. They make us human. They connect us – across space, across time.’ In Poems for the page and on stage, Raymond Antrobus shares his views on writing and reading poetry to offer comfort, particularly in times of change, and Adam Hamdy celebrates the delights of book festivals, including those that might be (temporarily) virtual in Festival fun: your guide to why, how and what.

Another prevailing theme of this edition is the importance of practice: devoting time to one’s craft before offering completed work to agents or publishers or script editors and producers for consideration. The best way to learn to write is by doing it; by practising over and over again. Temi Wilkey shares her experiences of getting her play noticed, read and redrafted in How to get your play published and performed. Frances Moffatt illuminates the route to success for illustrators in Illustrating non-fiction books. In Writing series for television, Russell Lewis encapsulates what Writers’ & Artists’ exists for: to help writers become better writers and to provide a guiding hand to navigate the worlds of screen, stage, books and agents. New also to the ‘Screen and audio’ section are articles on Adapting books for stage and screen by Ana Garanito and Podcasting: how to get creative and make money by Sam Delaney. Other articles on the benefits of new digital routes to readers include Julia Mitchell’s Writing an award-winning blog, Hari Patience’s In praise of fanfic and Philip Jones’ annual updates to Electronic publishing.

We have further up-to-date advice from literary agents Sarah Such in Cross-format representation: what a literary agent can do for you and Clare Grist Taylor in Advice from an ‘accidental’ agent. If you are seeking inspiration on how to write in a specific genre, then turn to Jonathan Lorie’s How to become a travel writer and Rachel Winters’ Writing a romcom. As in previous editions, Tom Tivnan gives us an update on the ups and downs of the publishing world in News, views and trends: review of the publishing year.

Whatever your intended market, genre or format, I hope that the advice and information in this Yearbook sets you off in the right direction and provides the shepherding that you most want and need.

Alysoun Owen

Editor

All articles, listings and other material in this yearbook are reviewed and updated every year in consultation with the bodies, organisations, companies and individuals that we select for inclusion. To the best of our knowledge the websites, emails and other contact details are correct at the time of going to press.

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This edition of the Yearbook is dedicated to the memory of our valued contributor, Gillian Haggart Davies. Read her articles, Understanding publishing agreements and Copyright questions.

More than a book

The Writers&Artists website (www.writersandartists.co.uk) has relaunched. It offers more free-to-view content and support than ever before.

Here you will find hundreds of free articles on the writing and publishing process, regular writing competitions and a community space to share your work or ask questions about writing and publishing. Brand new features, such as being able to annotate and bookmark pages, can be accessed by creating your free user account. As a signed-up member of the Writers’&Artists’ community, you will receive – straight to your dashboard – exclusive discount codes and regular content to match your particular interests.

You can find details online of our editorial services and the courses and workshops we run (face-to-face and online), including How to Hook an Agent lunches and one-day How to Get Published events.

Our subscription-only database includes all the contacts in this edition of the Yearbook plus hundreds of additional organisations and companies.

Whatever your needs, we hope that Writers’ & Artists’ resources, whether delivered in an ebook, print, online or at our events, will provide you with the information, advice and inspiration you are looking for.

Special offer

Visit www.writersandartists.co.uk before 30 June 2021 and enter the promotional code WAYB21 to receive an exclusive 10% discount on our editorial services.

Contents

A note from the Editor

More than a book

Foreword – S.J. Watson

Newspapers and magazines

Getting started

Writing for online and print – Suzanne Elliott

Life’s a pitch: how to get your ideas into print – Mike Unwin

Listings

National newspapers UK and Ireland

Regional newspapers UK and Ireland

Magazines UK and Ireland

Syndicates, news and press agencies

Books

The publishing process

How to get published

What do publishers do? – Bill Swainson

News, views and trends: review of the publishing year – Tom Tivnan

Electronic publishing – Philip Jones

Print on demand – David Taylor

The mathematics of publishing – Scott Pack

Crowdfunding your novel – Alice Jolly

Debut success with an indie publisher – Wyl Menmuir

Understanding publishing agreements – Gillian Haggart Davies

Defining genre fiction – Maxim Jakubowski

On mentoring – Jill Dawson

Listings

Book publishers UK and Ireland

Book publishers overseas

Audio publishers

Book packagers

Inspiring writers

First chapters: how to grab your reader’s attention – Emma Flint

Managing a successful writing career – Tony Bradman

Advice to a new writer – Rachel Joyce

Real people write books – Samantha Shannon

The ‘how to’ of writing how-to books – Kate Harrison

Finding my agent – Martina Cole

Changing voices – Alexander McCall Smith

Notes from a successful children’s author – J.K. Rowling

Writing advice

Changing lanes: writing across genres and forms – Mark Illis

Turning to crime: writing thrillers – Kimberley Chambers

Writing character-led novels – Kerry Hudson

Writing romantic fiction – Raffaella Barker

Ever wanted to write a saga? – Di Redmond

Writing speculative fiction – Claire North

Writing (spy) fiction – Mick Herron

Breaking into comics – Antony Johnston

Writing a romcom – Rachel Winters

Then and now: becoming a science fiction and fantasy writer – Aliette de Bodard

Writing historical fiction: lessons learned – Tim Pears

Writing popular history books – Tom Holland

Blurring facts with fiction: memoir and biography – Nell Stevens

Ghostwriting – Gillian Stern

Making facts your mission: the pleasure of writing non-fiction – Jane Robinson

How to become a travel writer – Jonathan Lorie

Writing about science for the general reader – Suzanne O’Sullivan

So you want to write about nature ... – Melissa Harrison

Writing a cookbook – Ruby Tandoh

Writing for the health and wellness market – Anita Bean

Writing sports books – Frances Jessop

Poetry

How to become a poet – Andrew McMillan

Poems for the page and on stage – Raymond Antrobus

Notes from a passionate poet – Benjamin Zephaniah

Getting your poetry out there – Neil Astley

Listings

Poetry organisations

Screen and audio

Successful screenwriting – Anna Symon

Adapting books for stage and screen – Ana Garanito

Writing series for television – Russell Lewis

Podcasting: how to get creative and make money – Sam Delaney

Stories on radio – Di Speirs

Should I make an audiobook? – James Peak

Writing for videogames: a guide for the curious – Chris Bateman

Listings

Television and radio

Theatre

How to get your play published and performed – Temi Wilkey

Bringing new life to classic plays – Mike Poulton

Writing about theatre: reviews, interviews and more – Mark Fisher

Listings

Theatre producers

Literary agents

What does a literary agent do? – James Rennoldson

Putting together your submission – Hellie Ogden

Advice from an ‘accidental’ agent – Clare Grist Taylor

Are you ready to submit? – Ed Wilson

Cross-format representation: what a literary agent can do for you – Sarah Such

How to submit a non-fiction proposal – Andrew Lownie

A day in the life of a literary agent – Charlotte Seymour

How to choose your agent – Jo Unwin

Listings

Literary agents UK and Ireland

Literary agents overseas

Art and illustration

Freelancing for beginners – Fig Taylor

Illustrating non-fiction books – Frances Moffatt

How to make a living: money matters – Alison Branagan

Selling yourself and your work online – Fig Taylor

The freelance photographer – Ian Thraves

Listings

Art agents and commercial art studios

Card and stationery publishers that accept illustrations and photographs

Societies, prizes and festivals

Festival fun: your guide to why, how and what – Adam Hamdy

Developing talent: support and opportunities for writers – Helen Chaloner

Society of Authors

WGGB (Writers’ Guild of Great Britain)

Alliance of Independent Authors

Listings

Societies, associations and clubs

Prizes and awards

Prize winners

Festivals and conferences for writers, artists and readers

Self-publishing

Self-publishing online: the emerging template for sales success – Harry Bingham

Going solo: self-publishing in the digital age – Dean Crawford

Getting your book stocked in a high-street bookshop – Sheila O’Reilly

What do self-publishing providers offer? – Jeremy Thompson

How self-publishing started my publishing journey – Mel Sherratt

In praise of fanfic – Hari Patience

Notes from a hybrid author – Nick Spalding

Making waves online – Simon Appleby

Listings

Book sites, blogs and podcasts

Editorial services and self-publishing providers

Resources for writers

Editing your work

Writing an award-winning blog – Julia Mitchell

Indexing – Society of Indexers

ISBNs: what you need to know

Public Lending Right

Who’s who in publishing

Glossary of publishing terms

Software for writers

Listings

Libraries

Writers’ retreats and creative writing courses

Law and copyright

Copyright questions – Gillian Haggart Davies

UK copyright law and publishing rights – Lynette Owen

A legal lexicon

Copyright Licensing Agency Ltd

Authors’ Licensing and Collecting Society

DACS (Design and Artists Copyright Society)

Publishers’ Licensing Services

Finance for writers and artists

FAQs for writers – Peter Vaines

Income tax – Peter Vaines

National Insurance contributions and social security benefits – Peter Arrowsmith and Sarah Bradford

Indexes

Subject indexes

General index

Listings index

Writers’ & Artists’ Guide to Series

Advertisements

During the preparation of this edition of the Yearbook, the global lockdown in response to the coronavirus pandemic became a new reality. Some of the new pieces and S.J. Watson’s Foreword allude to this. The lock-down has necessarily impacted on live events such as literary festivals, award ceremonies, poetry and theatre performances, face-to-face creative writing courses, and much more besides. We have included updated listings for these as we do every year in consultation with the companies and organisations themselves, though are aware that many will not be going ahead in their current form. Please do check online for what other ways organisations, societies and other groups will be supporting writers and illustrators over the coming months and be aware that some of the information in this year’s Yearbook will be subject to greater change than usual.

Short story competition

The annual Writers’ & Artists’ Yearbook Short Story Competition offers published and aspiring writers the chance to win a place on an Arvon residential writing course (worth £1,000). In addition, the winner’s story will be published on the Writers & Artists website.

To enter the competition, submit a short story (for adults) of no more than 2,000 words, on any theme by 12 February 2021 to [e-mail]. For full details, terms and conditions, and to find out more about how to submit your entry, visit www.writersandartists.co.uk/competitions.

runs creative writing courses and retreats from three writing houses in the UK, each in a beautiful rural location. Published writers lead week-long or short residential courses. Covering a diverse range of genres, from poetry and fiction to screenwriting and non-fiction, Arvon courses have provided inspiration to thousands of people at all stages of their writing lives. You can find out more and book a course online at www.arvon.org.

Foreword

S.J. Watson

I’m writing this in late March 2020, sitting not in my office but at a table I’ve set up in the bay window of my sitting room. From here I have a view of the garden – I can watch the birds as they flit from branch to branch and eventually settle at the feeder outside the window; I can chart the day’s progress by the changing light. But the world has changed – suddenly I can move no further than I can see, other than in an emergency or to collect provisions and, even then, I must stay a minimum of two metres from anyone I may meet. A virus is tearing through the population, threatening to overwhelm us, and it must be slowed. Collectively, we’re in lockdown.

And so, unable to travel, we temporarily escape our surroundings in other ways. We reach out to our friends on social media and through meet-up apps, checking in, lifting each other up. And we turn to stories – to our books and films, our TV shows and, yes, even our plays, as theatres stream recorded performances direct to our living rooms. Through words we bond, we are entertained and amused, offered ways to escape and expand. Never before has the importance of a shared story been more apparent.

Yet it has always been so. I grew up in the Black Country, an only child, gay. My childhood was far from unhappy, but it felt … limited, confusing. I turned to books at a very early age, visited the local library weekly, taking out and reading my allotted five books without fail. They were my escape, my life raft, and it wasn’t long before I began to write stories of my own. Encouraged by teachers, I dreamt of one day seeing a book of mine on a shelf in a library or bookshop, of having the power to transport people as I had been transported. When asked what I wanted to be when I grew up, I replied, ‘A writer!’ – without hesitation, every time.

It took me a long time (or a long time to be a published writer, at least; I’ve been a writer my whole life, and the distinction is important). Seduced by the idea that I needed a sensible career alongside my writing, I studied physics and eventually worked in the NHS. But the writing was always there. I filled notebooks, I wrote stories and poems and started novels, I pushed forward. I vowed I wouldn’t stop as long as my output was improving. My dream never left me.

The publishing side of things, though? That remained a mystery. I hoovered up as much advice as I could, yet much of it was conflicting, and the path to publication remained impossibly opaque. I read somewhere that one needed an agent to be published, then read somewhere else that to get an agent one needed to have been published. ‘Win a prize!’, they said, ‘or no one will even look at your work. Get some short stories into magazines!’, though no one told me how, or which magazines.

But then, one day, in a now-vanished bookshop in North London, I lifted down from the shelf an earlier version of the book you’re holding now. And my eyes were opened. Here was a guide, a clear way through what had previously been misty and unclear – not only a reference guide that listed agents, publishers and other helpful organisations along with their contact details and preferences, but also a treasure trove of invaluable and inspirational articles and guides covering every stage of the writer’s journey. Here, at last, was a beacon that could guide me through the choppy waters ahead. I kept it on hand the whole time and referred to it frequently for information, inspiration or support. And when, in my late thirties and ground down by working in an overstretched health service, I decided it was time my career took a back seat to my writing ambitions, it was this book that gave me the courage to drop to part-time at work and really go for it.

A definitive guide, in here you’ll find everything you need. It won’t write your book for you, quite, but it’ll demystify the whole process of getting your book into the hands of readers, however you choose to do that, as well as illuminating the ‘business’ side of being a writer. There can be few published writers who haven’t turned to the Writers’ & Artists’ Yearbook at some stage in their development, and many use it still. All writing is an act of optimism, including this foreword – I hope that, by the time you’re reading it, the world will be in a different, better place. But we’ll still need stories, perhaps more than ever. We’ll always need stories. They make us human. They connect us – across space, across time. The only way to learn to write is by doing it, by practising, over and over…but for every other aspect of the world of publishing, we have this book.

S.J. Watson is the award-winning author of the international bestsellers Before I Go to Sleep (Doubleday 2011), winner of the Crime Writers’ Association Award for Best Debut Novel and the Galaxy National Book Award for Crime Thriller of the Year, and Second Life (Doubleday 2015). He was born in the Midlands and studied physics at Birmingham University, later working as an audiologist in the NHS, before enrolling on the first Faber Academy ‘Writing a Novel’ course in 2009. He now lives in London. The film adaption of Before I Go to Sleep, directed by Rowan Joffe, starring Nicole Kidman and Colin Firth, was released in 2014. S.J. Watson’s latest book, Final Cut, will be published by Transworld in August 2020. Follow him on Twitter @SJ_Watson.

Newspapers and magazines

Getting started

Of the titles included in the newspapers and magazines section of this Yearbook, almost all offer opportunities to the writer. To help you get started, see the guidelines below.

Study the market

• It is an editor’s job to know what readers want, and to see that they get it. Thus, freelance contributions must be tailored to fit a specific market; subject, theme, treatment, length, etc must meet the editor’s requirements.

• Before sending an article or feature, always carefully study the editorial requirements of the magazine: the subjects dealt with but for the approach, treatment, style and length.

Check with the editor first

• Before submitting material to any newspaper or magazine it is advisable to first contact the relevant editor. A quick telephone call or email to a magazine will establish the name of the relevant commissioning editor.

• It is not advisable to send illustrations ‘on spec’; check with the editor first.

Understand how the market works

• It is worth considering using an agent to syndicate material. Most agents operate on an international basis and are more aware of current market requirements.

• The larger newspapers and magazines buy many of their stories, and the smaller papers buy general articles, through well-known syndicates.

• For the supply of news, most of the larger UK and overseas newspapers depend on their own staff and press agencies. The most important overseas newspapers have permanent representatives in the UK who keep them supplied with news and articles. While many overseas newspapers and magazines have a London office, it is usual for freelance contributions to be submitted to the headquarters’ editorial office overseas.

Payment

• The Yearbook aims to publish the rates of payment offered for contributions by newspapers and magazines. Many are reluctant to state a standard rate, since the value of a contribution may be dependent not upon length but upon the standing of the writer or the information supplied. Many other periodicals prefer to state ‘by negotiation’ or ‘by arrangement’, rather than giving precise payment information.

Writing for online and print

Experienced freelance journalist Suzanne Elliott has sound advice on how to work successfully as a writer across different platforms in the age of fake news, social media and new technology.

Not long ago journalists were split into web or print specialists, with a certain snottiness reserved for the online usurpers. But that attitude has changed and writing for online is no longer considered the poor cousin of print journalism. There is now far more of a content and staff crossover. Magazines, in particular, have embraced a more fluid relationship between the two platforms, with many pulling everything under a single ‘content’ umbrella.

Having worked in print and online, in newsrooms, for fashion magazines, creative agencies and press agencies, I’ve ridden the wave of a shifting media world over the last 20 years. Having lived through the eye of the storm, it’s been fascinating watching the shift, as the internet changed how we consumed news and, as a consequence, how journalists write.

While this changing environment has proven challenging for traditional news outlets, it does provide exciting opportunities for freelancers and I hope these tips I’ve picked up in my time as a freelance journalist will make it easier for newcomers to exploit.

News writing

Despite the changing landscape, the ‘when, where, who, what, why’ formula still applies – whether you are writing for online or print, newspaper or magazine.

The inverted triangle method puts the most important detail – the five ‘Ws’ – in the first one or two sentences. The reader should be able to stop reading at this point and still have grasped the main points of the story. This journalism 101 may have been around since the printing press but, in a world where people consume news at a rapid pace, it has never been more appropriate. For example:

Two people have died after their car was involved in a collision with a lorry on the M25 near Leatherhead.

After this initial scene setting, you move on to the middle section that fleshes out the story, identifying victims, giving their ages, explaining how the accident happened.

The final third will include other relevant background information, quotes and perhaps a reference to a similar story.

Writing for online v print

While the foundations of journalism apply across all formats, there are some differences between writing for online and print. Online articles traditionally follow several other formats: news pieces; listicles (also popular in magazines); picture-led galleries (usually reserved for fashion, beauty and celebrity content); and short, blog-like articles.

Until recently, the emphasis had been to keep online articles short and, while that rule still applies to a lot of online content, more traditional long-form pieces of between 1,000 and 20,000 words are gaining popularity with publishers and readers.

Many of the regular, daily-updated and news-focused articles will be written in-house, so you will find that focusing on evergreen articles (content that is always relevant and does not date like news stories) can be a more successful route to catching an editor’s eye.

Comment or opinion (op-ed) pieces are common in both print and digital. Timely pieces differ from news articles as they enable a writer to express their own, often provocative or controversial, opinion on a topical subject. They are usually personal and conversational and, unlike a news piece, they entertain as well as stimulate conversation.

What is fake news?

An article no longer has to be a comment or opinion piece to merit discussion. The internet enables readers to give immediate feedback on features and news stories, not all of it positive.

Increasingly, the term ‘fake news’ has become an accusation aimed at journalists by people who don’t like what has been reported. It is also an increasing frustration for journalists trying to unearth the truth in a world full of false chatter. Fake news is nothing new, but in a ‘post-truth’ world, fuelled by social media and with a US president fixated on it, fake news has become a mainstream problem. Its impact on journalism is not to be underestimated. As it gains traction, fake news makes it difficult for journalists to cover high-profile news stories and undermines reports from reputable publications. Put simply, when we’re telling the truth the world is not listening. A study by Buzzfeed found the top 20 fake news stories about the 2016 US presidential election received more engagement on Facebook than the top 20 real news stories from 19 major media outlets.

Never assume anything that appears on social media – or even other news outlets – is true until you have verified the source yourself. After the Manchester Arena bombing in May 2017, several posts of fake victims went viral within hours of the attack. One of the photos used in a montage was of Jayden Parkinson who was murdered in 2013, while another showed a picture of a young boy who had been used as a model for a fashion line several years before. Following the Grenfell Tower fire, a story of a baby being thrown from a window and caught was published in many newspapers and websites, but a BBC investigation discovered that the incident probably never happened.

Journalists need to play their part in fighting fake news, not fuelling it. Real news will always take a while to filter through, even in a world where everything is so immediate. Taking time to fact-check in the middle of a frantic breaking news story requires confidence and conviction. But it’s better to be slow than to be wrong.

Style, accuracy and sources

Every publication has its own house style to ensure stylistic consistency and tone of voice. An editor may give you guidelines in the commission, but the best way to get a clear idea of style is to read the magazine, newspaper or website thoroughly.

Fact-check meticulously and don’t be tempted to fudge facts. Choose your words carefully – simply replacing one word for another can alter the meaning of a sentence completely.

Record all interviews and ensure your sources are reliable and trustworthy. Many a journalist has been tripped up by failing to check the credibility of a too-good-to-be-true scoop. In 2004, Piers Morgan was sacked as editor of the Daily Mirror after printing fake photos of British soldiers abusing an Iraqi, claiming he had fallen victim to a ‘calculated and malicious hoax’.

A working knowledge of libel laws is an absolute necessity for any journalist. Writing anything potentially libellous can, at best, end with the publication having to print an apology, and, at worse, land them and you in court.

The Defamation Act was updated in 2013 to include social media. You can defame someone by publishing material:

• in newspapers, magazines and other printed media;

• in radio and TV broadcasts;

• on the internet, including online forums, social media and blogs;

• by email.

Spreading ‘false’ news, through sloppiness and errors of judgement, is only going to further discredit journalism and fuel accusations of fake news in the mainstream media.

The rise of the internet has given a voice to citizen, or public, journalism. American journalist Courtney Radsch, author of Cyberactivism and Citizen Journalism in Egypt: Digital Dissidence and Political Change (Palgrave Macmillan 2016) defines it as an ‘activist form of news gathering’ that is ‘driven by different objectives and ideals and relies on alternative sources of legitimacy than traditional or mainstream journalism.’

Technology, including smart phones and social media, have enabled members of the public to report a breaking news story more quickly than journalists, particularly in countries where foreign media access is limited. Citizen journalism played a key role in the 2010 Arab Spring, the war in Syria – especially during the battle of Aleppo – and in the 2018 economic protests in Iran.

While citizen journalism plays a significant role in unfolding news stories, a degree of caution should be applied to reports from non-professional journalists, as citizen journalism by its very nature is subjective. This doesn’t devalue its worth, but its objectives and reference points should always be understood before taking it as verbatim.

Online journalism – the ins and outs

Flexibility and an open mind are important when working as a freelance journalist across different platforms. Working online involves embracing technology and usually means going beyond a traditional journalist’s job description. It is common to be asked to picture edit, sub-edit, promote articles on social channels such as Twitter and Facebook and, increasingly, video edit. A grasp of content management systems (CMS) is essential if you work online. No two systems are the same, but they are increasingly user-friendly.

Online headlines have to work extra hard. They not only have to grab a reader’s attention, they must contain the right keywords to make it more visible to a search engine. Most search queries are two to four words long and consist of proper names and keywords. Ensuring that your headline and copy are search engine optimisation (SEO)-friendly without compromising the quality of your writing is an important skill for online journalists. The journalistic maxim ‘man bites dog’ – used to describe how unusual events are more likely to be reported as news – would need to be rewritten for online purposes using keywords and proper names to make it SEO-friendly, for example: ‘Hampshire man, 39, bites golden retriever on leg at Centerparcs’.

How to find a story

• Social media and news wires can be great sources of breaking news and a way of monitoring popular campaigns (e.g. #MeToo or the ice bucket challenge), but you certainly won’t have been the only journalist to have spotted a trending topic – so don’t rely too heavily on these.

• Social media can be helpful in other ways. Got a story and need case studies? Twitter and Facebook can be excellent ways to find people, under the hashtag #journorequest.

• Online journalist communities also offer excellent resources for freelancers to broaden their network, ask for contacts and stay up-to-date with the latest media news and jobs. Try JournoAnswers (www.facebook.com/groups/JournoAnwers) and Freelance Journalists UK (www.facebook.com/groups/FreelanceJournalistsUK), or the online reporters and editors group on LinkedIn (www.linkedin.com/groups/75711).

• Have something (a pen, a smartphone) to jot down any light-bulb story ideas. A seemingly irrelevant observation or off-hand remark can be the first germ of a far bigger idea.

• Sometimes a more interesting story is hidden within the story you are going after, or hidden within a seemingly unexceptionable press release.

• Think locally – read the local papers, talk to local people. Big news stories can be buried in bin collection disputes or fundraising efforts.

• Be curious and ask questions. People love talking about themselves, especially about something they are passionate about.

Pitching

While print and digital formats are more symbiotic that ever, they often still exist and are structured as two separate publications within an organisation. In a row with the Guardian in 2017 over commentator Katie Hopkins, Daily Mail editor Paul Dacre distanced himself from MailOnline, declaring in an editorial that the online version was ‘a totally separate entity that has its own publisher, its own readership, different content and a very different world view’. It’s therefore important to find out who the editor, or section editor, is within each platform.

Do not approach publications with a one-size-fits-all pitch. Think about how you consume articles online and pitch those ideas accordingly.

Tips for starting out

1. Start a blog

A blog can be an effective way to promote yourself and your writing. It is particularly useful if you’re a freelance journalist just starting out, as it allows you to establish yourself as an authority, on a subject and as a writer. A well-managed blog can help create writing opportunities and at the same time demonstrate your initiative and interests. It’s a great way to help find your voice as a writer and to sharpen your CMS and SEO skills.

The dos and don’ts of pitching

DO include your pitch within an email. No busy editor will want to download and then open a Word document, or equivalent.

DO explain who you are and why the piece you are pitching is relevant to the publication.

DO read the site you are pitching to thoroughly. Don’t skim through the home page and assume you’ve seen everything. How often do they publish? What kind of article formats do they publish (galleries, long-form, etc)? Look at the word count for each one.

DON’T send a pitch email on a Friday afternoon or first thing on a Monday.

DON’T jump on the news bandwagon assuming you’re the first person to think of a pitch.

DO flag up time-sensitive features and include a deadline if it is a news–related piece.

DON’T be precious about being edited. Even the most hard-nosed and experienced of journalists can bristle at an edit, but learning not to is an important skill.

DO get the tone of the publication right in the pitch. Pitching to a music website aimed at people in their 20s is different to pitching a long-form piece to a gardening print magazine with readers over 60.

DO keep the pitch short. Avoid going beyond four paragraphs; start with a brief sentence introducing yourself; then a sentence or two on the topic, why you want to write it, who you plan to interview, your suggested word count and any possible leads; finish with why you are the person to write it.

DO follow up the email within a few days if you have not heard back.

2. Have a social media presence

A Twitter profile will not only give you visibility; used well, it can also give you credibility. Use your full name (not a cheeky nickname from school) for your handle. In your bio, include your email address, your job title, publications you’ve written for and any speciality areas you work in. Tweet regular, appropriate updates that signpost your interests, and don’t be afraid to let your personality come through.

And don’t ignore LinkedIn. As well as being an excellent resource for journalists looking for scoops and jobs, by showing an up-to-date CV and a list of your skills and areas of expertise, LinkedIn makes it easier for editors who are looking for freelancers to find you.

3. Explore other writing opportunities

Content marketing, writing for a brand who want to behave like publishers, is a path increasingly open to journalists and writers. While it may not fit with your dreams of being the next Bob Woodward and Carl Bernstein, the essence of good editorial remains the same. Journalists know how to tell a good story; they know how to hook a reader with quality writing and present clear, compelling content – skills much in demand by brands.

4. Build relationships

One of the best pieces of advice I was given when I went freelance was to ‘batter my contacts’. Do not be shy to approach people you have a connection with – whether it’s a former colleague, someone you studied with, or an editor you met fleetingly at a party.

Do not assume they remember you, and keep your contact email formal, but people are far more likely to commission you if there is a trusted link there. Remember you are often a solution to someone’s fix – you are looking for the work and they need someone to do it.

The essential bookshelf for the budding journalist

As Stephen King says: ‘If you don’t have time to read, you don’t have the time (or the tools) to write.’ Reading great journalists and writers can inspire, educate and galvanise.

• How to write – George Orwell, in Politics and the English Language (Horizon 1946)

Orwell’s advice to ‘Never use a long word when a short one will do’ rings in my head whenever I write.

• Bliss to be alive: the collected writings of Gavin Hills (Penguin 2000)

Hills was what the Independent described as one of the ‘serious boys of the Loaded generation’. His hugely engaging and vital pieces covered everything from civil war to football violence.

• On Writing: a memoir of the craft – Stephen King (New English Library 2001)

Read this and you’ll never look at an adverb the same way again.

• Scoop – Evelyn Waugh (Chapman & Hall 1938)

While journalism has changed a great deal since William Boot, the Daily Beast’s timid nature correspondent, was sent to cover a socialist insurrection in (fictional) Ishmaelia, so much of this biting satire still rings true.

• The Journalist and the Murderer – Janet Malcolm (Knopf 1990)

A fascinating exploration of journalism ethics and the strange relationship between a reporter and their subject – in this case a man accused of murdering his wife and daughters.

Suzanne Elliott is a freelance journalist who has worked for ITV News, Vogue International, RedBull.com, EuroNews, Men’s Fitness, Shortlist, Huffington Post, Glamour, Marie Claire and the National and written editorial for companies including Iris Worldwide, Flash Pack, Global Radio, EE and Debenhams. For more information see https://muckrack.com/suzanne-elliott-7/portfolio or https://theviewfromtheuppercircle.com. Follow her on Twitter @CakeSuzette.

Life’s a pitch: how to get your ideas into print

Mike Unwin has lots of valuable advice for would-be freelance writers keen to see their work in print, and explains what magazine and newspaper editors are looking for in a pitch.

Dear Editor

I’m desperate to write for you. Please let me. I’m not yet sure what to write – and I hesitate to share my ideas, in case you don’t like them. But if you could just explain what you’re looking for I’m sure I could do the job. I know you’ve never heard of me, but I’m a great writer – all my friends say so – and I could certainly match what you usually publish. Other editors haven’t yet recognised my talent but you can change all that. Commission me and you won’t regret it.

What do you say?

Kind regards

A.D. Luded-Freelance

How does an aspiring freelance get into print? The answer, short of blackmail or nepotism, is via the ‘pitch’. This is a written proposal to a commissioning editor. Get it right and it can bag you a commission, complete with brief, fee and deadline. Get it wrong, and the first impression you make may well be your last.

Pitching is a notoriously tricky art. With editors’ inboxes already groaning, the odds are stacked against freelances, especially first-timers. The example above may be ridiculous but it nonetheless expresses the frustration felt by many freelances. How on earth do you break through?

Every freelance has a subjective take on this dilemma, depending on their field. Mine is travel and wildlife, so my advice is drawn from experience in this particular part of the industry. But the challenges are likely to be pretty similar whatever you write about. If there is a foolproof formula for success, I’ve yet to find it. What follows reflects 15 years of trial and error.

‘Some pitches are good, most are OK, but many are dire,’ says freelance commissioning editor Sue Bryant. You may never learn why your pitch succeeds or fails, but you can ensure that it always falls into the first of those three categories. The rest may just come down to luck.

Do your homework

First, before you write a word, familiarise yourself with your target publication. Trawl the website – or splash out on a paper copy. Establish how often it comes out: pitching a story about an imminent one-off event to a quarterly whose next edition won’t appear for three months is wasting the editor’s time. And check that nothing similar has already appeared. ‘My bugbear is when people pitch something we’ve recently covered,’ says Andrew Purvis, commissioning editor at Telegraph Travel.

Second, consider the readership. ‘This is where people most often go wrong,’ says Lyn Hughes, publisher of travel magazine Wanderlust. ‘It’s vitally important that you understand who the readers are and what interests them.’ You don’t need demographics: the ads and letters pages speak volumes. Hughes describes how Wanderlust has received pitches for articles on golf – utterly irrelevant to readers interested in adventure travel and the natural world. Ignorance shows. ‘You can always tell if they’ve not thought about the magazine and the target audience,’ confirms Laura Griffiths-Jones of Travel Africa magazine, who would never entrust a fact-finding commission to a writer who can’t even be bothered to research the magazine.

Don’t cut corners. An all-purpose pitch to several publications simultaneously maysave you time but will seldom get past the editor, who has a nose for the mail shot. Mistakes can be excruciating. ‘We see a lot of cut-and-pasting,’ says Hughes. ‘The giveaway is the different font.’

Finally, address your pitch to the right person. Larger publications may have different commissioning editors for different sections, including their website, and a misdirected pitch may disappear without trace. Heed protocol: copying in the commissioning editors of rival publications in your address line – a common mistake, according to Griffiths-Jones – will not endear you to the editor you’re addressing. And don’t pull rank. ‘Never go over the editor’s head and talk to the publisher,’ warns Bryant. ‘That used to make me furious.’

Most commissioning editors would rather not receive a pitch by phone: it can feel confrontational – and they will, in any case, seldom be able to say yes or no without investigating further. Social media is also seen by many as too throw-away for the initial pitch – although, if you establish a relationship, it may become useful further down the line.

Get to the point

Once you’ve worked out where to direct your pitch, your challenge is to make it stand out from all the others. First comes the subject line, which must convey the gist in as few words as possible. ‘You’ve almost got to put in as much effort on the subject line as in the pitch,’ stresses Hughes. Bear in mind that longer lines may half disappear on the screen of a smartphone. Thus ‘New snow leopard safari to Ladakh’ is more effective than ‘Proposal to write a travel feature about visiting the Himalayas in search of snow leopards’.

If the editor takes the bait, the pitch that follows must flesh out that subject line succinctly. ‘Ideally one paragraph, explaining what the story is,’ recommends Griffiths-Jones. I aim for one paragraph of no more than 100 words, sometimes adding a few brief supplementary details (see example opposite). It can help to think of your pitch as being like a ‘standfirst’: the introductory paragraph that a magazine often places above an article.

Your ‘angle’ is critical. In travel journalism this might be a new means of experiencing an old destination or a topical hook, such as a forthcoming movie. In reality, your angle may not be very original – in travel, as elsewhere, subjects are revisited and dusted down on rotation – but your job is to make it sound novel and convince the editor that you are the one to write it. ‘If I think: ‘‘So what? I could write that from my desk,’’ then it’s a nonstarter,’ warns Bryant.

A scattergun approach suggests lack of focus, so don’t cram too many ideas into one story and certainly don’t bundle several stories into one pitch. Settling on one idea can be difficult: in travel writing, almost any trip could yield multiple stories and it can feel risky to cram all your eggs into one basket. But editors are commissioning a story, not a destination. If torn, one compromise is to lead with a main angle but allow a little room for manoeuvre by including two or three brief subsidiary points that might suggest other angles should the main idea not appeal. Here’s an example:

New snow leopard safari to Ladakh

In January I join a new tour to Ladakh, India, in search of snow leopards. This endangered big cat recently starred on BBC’s Planet Earth and is one of the world’s most sought-after wildlife sightings. Confined to the high Himalayas, it has long been off the tourist agenda. This pioneering venture (www.snowleopardsafaris.com) now offers snow leopard tracking for the first time. Accommodation is in community home-stays, from where expert local trackers guide small groups in to the mountains. Tourism revenue helps fund community-based conservation. Highlights include:

– Tracking snow leopards

– Wolves, ibex, eagles and other wildlife

– Trekking in the high Himalayas

– The ancient Ladakh capital of Leh (3,500m)

– Buddhist culture: monasteries, festivals, village home-stays

– Snow leopard conservation project

Peak season Jan–April; could file story from end January.

If the editor doesn’t know you, some brief credentials might help: a simple sentence at the end explaining who you are, plus a sample or two of your work. Keep any attached files small: the editor won’t want PDFs clogging up their inbox. Any weblinks should be to articles relevant to your pitch. ‘Don’t just say ‘‘visit my website’’,’ warns Bryant. ‘It sounds really arrogant and I haven’t got time.’

Mind your language

Even the most perfectly structured pitch can founder on the detail. Typos happen, but this is one place where they mustn’t. Hughes describes how Wanderlust regularly receives pitches for stories about ‘Equador’ and ‘Columbia’. Remember, you are trying to persuade an editor to trust your ability with words. What will they think if you stumble at the first hurdle? Editors work to tight budgets and schedules so the last thing they want is more work. ‘If it’s riddled with errors, and they can’t construct a sentence or a paragraph correctly,’ asks Purvis, ‘why would I waste all that time – and budget – sorting it out?’

So double-check your pitch before sending. If in doubt, print it out: research shows that we all spot errors more easily on the printed page. To guard against embarrassing disasters, never insert the recipient’s address in your email until you’re ready to press ‘Send’.

Style is important too. In general, less is more: the pitch is not a place for purple prose. And try to avoid journalistic faux pas, such as opening with long subordinate clauses or overusing the passive voice. And avoid cluttering your pitch with clichés: ‘land of contrasts’ and ‘best-kept secret’ are travel industry horrors that spring to mind. Editors are writers too. It doesn’t take much for them to sniff out a weakness.

Me, me, me ...

Perhaps the worst error in pitching your story is to make yourself its subject. ‘Don’t make the pitch about you,’ insists Bryant, ‘unless you’re really famous or really funny.’ A travel editor is not generally looking for a Bruce Chatwin or Bill Bryson; they have no use for your hilarious anecdotes or journey of discovery. They want your writing to sell an experience that their readers can go out and buy. ‘We’re not interested in you,’ confirms Hughes. ‘We’re interested in our readers.’ That’s why any travel article will have at the end a fact box ‘call to action’, with all the details that the reader will need in order to replicate your experience.

Any hint of neediness is an instant deterrent. Your needs are not important, so don’t suggest that by publishing your work the editor will be helping launch your career. A particular bugbear for travel editors is ‘blagging’: securing a commission in order to get yourself a free trip. ‘I was recently offered a place on an Amazon River trip, but couldn’t find a sponsor for the flights to Lima,’ began one pitch that Bryant instantly rejected. Whilst a commission is a part of the equation that enables freelance travel writers to travel, the publication in question does not generally want to be caught up in the mechanics. You’re a freelance; that’s your lookout.

And beware how you present yourself. Editors talk to one another and reputations are quickly acquired. Social media can be a minefield: Bryant recalls discovering a long rant on Twitter from a writer she was considering commissioning that threatened to have a PR fired because the writer had not received a flight upgrade. ‘When you’re on the road on a commission,’ she stresses, ‘you are representing the publication and our advertisers.’

Editor empathies

If in doubt, try placing yourself in the shoes of the commissioning editor. Invariably they will be overburdened, against deadline and quite possibly battling some cost-cutting edict from on high. The last thing they’re looking for, usually, is unsolicited pitches from writers that they’ve never heard of. ‘Editors can be lazy,’ admits Bryant. ‘They don’t like surprises.’

What’s more, an editor’s job is not to showcase your writing but to publish material that trumps the competition. Ultimately all editorial decisions are commercial. ‘You’re going to be held accountable for spending the money,’ points out Purvis. Your job is to make their life easier by offering something that meets their needs.

Remember, too, that it was you who made the approach. An editor is under no obligation to justify their decision. Indeed – common courtesy aside – they are not even obliged to reply. The frustrating reality for freelances is that responses may be very slow and, at times, non-existent. Your pitch may never reach the front of the queue.

If you don’t hear back, do send a gentle reminder. I usually leave it a couple of weeks and if I still hear nothing after that, I drop it. But never express your frustration; swallow it and look elsewhere. Who knows? Your name or idea may have struck a chord. The editor may get back to you months later, when you least expect it. It has happened to me. Don’t burn your bridges.

And never give up. Somewhere out there is an article with your byline on it.

Mike Unwin is a freelance writer, editor and photographer who specialises in travel and wildlife. He worked for 14 years in book publishing before leaving to pursue a freelance career. Today he writes for a variety of newspapers and magazines, including the Telegraph, the Independent, BBC Wildlife, Wanderlust and Travel Africa. Among his 35 published books for both adults and children are Migration (Bloomsbury 2018), The Enigma of the Owl (Yale 2016), Swaziland (Bradt Travel Guides 2012) and Endangered Species (Aladdin Books 2000). His awards include BBC Wildlife Nature Travel writer of the year 2000, the British Guild of Travel Writers’ UK Travel Writer of the Year 2013 and Latin American Travel’s Newspaper Feature of the Year 2018.

National newspapers UK and Ireland

This section includes listings for national newspapers available in print, in both print and online, and as online-only news websites.

BBC News

email [e-mail]

website www.bbc.co.uk/news

Facebook www.facebook.com/bbcnews

Twitter @BBCNews

Editor Steve Herrmann

Online only. One of the most popular news websites in the UK, reaching over a quarter of internet users in the UK; has around 14 million global readers every month. The website contains international and regional news coverage as well as entertainment, sport, science and political news. Founded 1997.

Daily Express

One Canada Square, Canary Wharf, London E14 5AP

tel [phone]

email [e-mail]

website www.express.co.uk

Facebook www.facebook.com/DailyExpress

Twitter @Daily_Express

Editor Gary Jones

Daily Mon–Fri 70p, Sat 80p (England and Wales),

90p (Scotland)

Supplements Daily Express Saturday

Exclusive news; striking photos. Leader page articles (600 words); facts preferred to opinions. Payment: according to value. Founded 1900.

Deputy Editor Collette Harrison

Environment Editor John Ingham

Features Editor Fran Goodman

Head of Lifestyle Mernie Gilmore

News Editor Geoff Maynard

Online Editor Geoff Marsh

Political Editor Macer Hall

Sports Editor Mike Allen

Travel Editor Jane Memmler

Daily Express Saturday Magazine

Editor Mel Brodie

Free with paper

Daily Mail

Northcliffe House, 2 Derry Street, London W8 5TT

tel [phone]

email [e-mail]

website www.dailymail.co.uk

Facebook www.facebook.com/DailyMail

Twitter @MailOnline

Editor Geordie Greig

Daily Mon–Fri 70p, Sat £1.10

Supplements Weekend

Founded 1896.

Deputy Editor Tobyn Andreae

Deputy Editor Gerard Greaves

City Editor Alex Brummer

Diary Editor Sebastian Shakespeare

Education Correspondent Eleanor Harding

Executive Editor of Features Leaf Kalfayan

Executive News Editor Ben Taylor

Good Health Editor Justine Hancock

Head of Sport Alex Jay-Jelski

Literary Editor Sandra Parsons

Moneymail Editor Dan Hyde

Picture Editor Paul Bennett

Political Editor Andrew Pierce

Travel Editor Frank Barrett

MailOnline

tel [phone]

email [e-mail]

Editor Danny Groom

The world’s largest English-speaking news website.

Free to users. Founded 2003.

Daily Mirror

One Canada Square, Canary Wharf, London E14 5AP

tel [phone]

email [e-mail]

website www.mirror.co.uk

Facebook www.facebook.com/DailyMirror

Twitter @DailyMirror

Editor Alison Phillips

Daily Mon–Fri 85p, Sat £1.30

Supplements We Love TV

Top payment for exclusive news and news pictures. Freelance articles used, and ideas bought: send synopsis only. Unusual pictures and those giving a new angle on the news are welcomed; also cartoons. Founded 1903.

Business Editor Graham Hiscott

News Editor Dominic Herbert

Associate Picture Editor Derek Momodu

Political Editor Andrew Gregory

Sports Editor David Walker

Daily Record

1 Central Quay, Glasgow G3 8DA

tel [phone]

email [e-mail]

website www.dailyrecord.co.uk

Facebook www.facebook.com/TheScottishDailyRecord

Twitter @Daily_Record

Editor Lorna Hughes

Daily Mon–Fri 85p, Sat £1.20

Supplements Saturday, Seven Days, Living, TV Record, Road Record, Recruitment Record, The Brief

Topical articles, from 300–700 words; exclusive stories of Scottish interest and exclusive colour photos. Founded 1895.

Assistant Editor & Head of News Kevin Mansi

Assistant Editor & Head of Sports Austin Barrett

Assistant News Editor Vivienne Aitken

Online Editor Graeme Thomson

Political Editor David Clegg

Saturday

Free with paper

Lifestyle magazine and entertainment guide. Reviews, travel features, shopping, personalities, colour illustrations. Payment: by arrangement.

Daily Star

One Canada Square, London E14 5AP

tel [phone]

email [e-mail]

website www.dailystar.co.uk

Facebook www.facebook.com/thedailystar

Twitter @dailystar

Editor Jon Clark

Daily Mon–Fri 50p, Sat 65p

Supplements Hot TV, Seriously Football

Hard news exclusives, commanding substantial payment. Major interviews with big-star personalities; short features; series based on people rather than things; picture features. Illustrations: line, half-tone. Payment: by negotiation. Founded 1978.

Deputy Sports Editor Andy Rose

Digital Showbiz Editor Nadia Mendoza

News Editor Steve Hughes

Daily Star Sunday

Express Newspapers, The Northern & Shell Building, 10 Lower Thames Street, London EC3R 6EN

tel [phone]

website www.dailystar.co.uk/sunday

Editor Denis Mann

Sun 95p

Supplements OK! Extra

Opportunities for freelancers. Founded 2002.

Daily Telegraph

111 Buckingham Palace Road, London SW1W 0DT

tel [phone]

email [e-mail]

website www.telegraph.co.uk

Facebook www.facebook.com/telegraph.co.uk

Twitter @Telegraph

Editor Chris Evans

Daily Mon–Fri £2.50, Sat £2.80

Supplements Gardening, Motoring, Property, Review, Sport, Telegraph Magazine, Travel, Weekend, Your Money

Articles on a wide range of subjects of topical interest considered. Preliminary letter and synopsis required. Length: 700–1,000 words. Payment: by arrangement. Founded 1855.

Deputy News Editor Bill Gardner

Fashion Editor Lisa Armstrong

Health Editor Laura Donnelly

News Editor Mark Hughes

Political Editor Gordon Rayner

Telegraph Magazine

Editor Marianne Jones

Free with Sat paper

Short profiles (about 1,600 words); articles of topical interest. Preliminary study of the magazine essential.

Illustrations: all types. Payment: by arrangement. Founded 1964.

Telegraph Online

email [e-mail]

website www.telegraph.co.uk

Readers need to set up a monthly subscription after 30 days free access to view full articles. Founded 1994.

Digital Director Kate Day

Head of Digital Production Ian Douglas

Head of Technology (editorial) Shane Richmond

Financial Times

Bracken House, 1 Friday Street, London EC4M 9BT

tel [phone]

email [e-mail]

website www.ft.com

Facebook www.facebook.com/financialtimes

Twitter @FT

Editor Roula Khalaf

Daily Mon–Fri £2.70, Sat £4

Supplements Companies & Markets, FTfm, FT Reports, FT Executive Appointments, FT Weekend Magazine, House and Home, FT Money, How To Spend It, FT Wealth, Life & Arts

One of the world’s leading business news organisations, the FT provides premium and essential news, commentary and analysis. The FT aims to make its authoritative, award-winning and independent journalism available to readers anytime, anywhere and on whichever device they may choose. Founded 1888.

Deputy Editor Patrick Jenkins

Business Editor Sarah Gordon

Chief Economics Commentator Martin Wolff

FT Weekend Editor Alec Russell

House & Home Editor Helen Barrett

International Business Editor Peggy Hollinger

Managing Editor Tobias Buck

Markets Editor Michael Mackenzie

News Editor Matthew Garrahan

Political Editor George Parker

UK Editor-at-Large Robert Shrimsley

The Guardian

Kings Place, 90 York Way, London N1 9GU

tel [phone]

email [e-mail]

website www.theguardian.com

Facebook www.facebook.com/theguardian

Twitter @guardian

Editor Katharine Viner

Daily Mon–Fri £2.20, Sat £3.20

Supplements Sport, G2, Film & Music, The Guide, Weekend, Review, Money, Work, Travel, Family, Cook

Few articles are taken from outside contributors except on feature and specialist pages. Illustrations: news and features photos. Payment: apply for rates. See contributors guide: www.theguardian.com/info/1999/nov/22/contributors-guide-and-contacts. Founded 1821.

Deputy Editor Paul Johnson

Business Editor Julia Finch

Chief Books Editor Lisa Allardice

Deputy Opinion Editors Joseph Hacker

Economics Editor Larry Elliott

Education Editor Richard Adams

Fashion Editor Hannah Marriott

Head of National News Owen Gibson

Head of Travel Andy Pietrasik

Music Editor Ben Beaumont-Thomas

Opinion Editor Katherine Butler

Society Editor Alison Benjamin

Weekend

Free with Sat paper

Features on world affairs, major profiles, food and drink, home life, the arts, travel and leisure. Also good reportage on social and political subjects. Illustrations: photos, line drawings and cartoons. Payment: apply for rates.

theguardian.com/uk

website www.theguardian.com/uk

Free website where the Guardian and the Observer publish