Here’s how tired I am: I nearly wrote “sneak peaks.”
I’m exhausted! It’s the middle of harvest here in the Loire Valley, where I am working for the wonderful Mosse family in Anjou. (More on that soon.) While traveling all summer, I’ve managed to put together an entire magazine. There are some really complex, in-depth features in Terre Magazine Issue 1, which is now for sale on our website. Here’s a few of just the tiniest glimpses at what’s between the covers:
Deirdre Heekin of Vermont’s La Garagista delivers profound thoughts about hybrid grapes, with her signature prose style
One of Italy’s most prominent natural wine consultants, who is also making his own first vintage, is profiled
A first-person “day in the life” of one of the U.S.’s most exciting natural wine bars
The “beyond Pinot Noir” movement in Oregon
Cheesemaking and why terroir is a marketing scheme
How one Long Island winery made its first pét-nat
That’s only part of what’s in Issue 1. And you should see the artwork. We’ve collaborated with super talented painters, photographers, and illustrators around the world, and our designer is currently putting the finishing touches on the layout, all of which has happened via my talented artistic co-founders, Erika DaSilva and Katie June Burton.
If you haven’t already purchased your copy of Terre, grab it on our site. Copies are limited, and no content will be posted online. Potential stockists, if you have questions, please reach out to us at email@example.com. We’re planning some launch parties in NYC and Oregon for November–stay tuned! Follow us on Instagram or Facebook, or sign up for our newsletter.
Can’t wait to share Terre Magazine with you all, so so soon . . .
And now, back to bottling some Chenin Blanc. (It’s a rainy day, so it’s cellar work time here . . .)
Now that I’m the new editor of a print publication, I am fielding pitches, and I think it’s time to share some guidelines as to how that’s done. Because I’m getting a lot of these kinds of pitches from writers:
“Hey! I’m happy to write about something related to cider in California. Here’s a story I did a few months back about cider. Let me know!”
“Hello, I would love to write for Terre. Please take a look at my website, where I blog about wine and food, and see if anything interests you. Thanks!”
“How about a piece looking at the rise of natural wines in restaurants across the U.S.?”
The writers sending these pitches might be very talented, but there’s not much for me to work with here. Writers, you should not make your editor think of a story for you; it is up to you to figure out what the editorial approach of a magazine is (and yes, we don’t have an issue out yet, but we did explain our approach via text and video on our Kickstarter, which raised almost $17K, thanks to many of you who supported it, and I also have a lot of published articles on this site which indicate my interests and views) and propose articles that might fit based on that.
A good pitch should provide a glimpse of what the article itself will look like. It can begin with a colorful lede; for example, you might offer a few details of a person or place that peak an editor’s interest. This also helps to show your writing style; the rest of a pitch will be somewhat more technical and practical. You’ll want to outline the 5 W’s of journalism: who, what, where, why and when…
And regarding “why,” the pitch should address the timeliness or significance of the story you’re pitching. In the case of Terre, we are not really looking for “trend pieces,” such as “5 Restaurants Serving Natural Wine To Try Now.” This would be more the territory of a website looking for clicks.
Being a boutique print magazine, we want articles with a lot of substance and energy, and we are looking for in-depth, colorfully writtenmedium-form stories, in the 1500-2000 word range. For this kind of feature, I would love to see pitches that promise a story which will move from the specific (“this winemaker has an interesting vineyard because X”) to the general (“this vineyard is an example of how indigenous grapes respond to climate change, which applies to broader questions like X”), as much as possible. I realize this is difficult to do, but I think it’s important to do more than simply profile an interesting producer; we need to make connections to the bigger picture.
As well, a good pitch should address the following:
why are you the writer to take on this story?
how will you do this differently than anyone else?
This could be answered in a number of ways, and it will be specific to the publication. For example, if you are writing a memoir about working on a vineyard, I as an editor would like to know what literary skills you have, because memoir is a genre that really depends on beautiful, talented authorship. If, however, you simply want to pitch an interview with a renowned winemaker who is difficult to access, you could offer your prowess as a reporter or perhaps your language skills (maybe the winemaker only speaks Croatian, and you do?), and your knowledge of wine in that region.
Also, it’s great to pitch several ideas at once, so an editor can see your general range of thinking, and also, you might get more than one assignment! Every pitch should begin with a proposed headline. It won’t be the final headline, but it does help to frame the pitch.
So, a few more tips here, and also a review of the points above:
give your pitch a headline
use a colorful lead
pitch something you’re passionate or curious about that you think fits the publication
explain why you’re the person to write this
offer a sense of your approach and what you envision as the approximate word count
explain why this story should be written now, and why for this publication
check back, and make sure you’ve at least tried to address the who/what/where/why/when of this story…
and finally, but this is also the most important: pitch stories, not topics–i.e. look for something that’s actually happening, or a new phenomenon, or a person who is remarkable right now, and construct a narrative around that
Was this useful at all? I really hope it was, and that it helps those of you who are writers, whether you’re pitching Terre or someplace else.
And in case you’re a writer, and you’re wondering: yes, Terre will pay contributors. Send pitches to firstname.lastname@example.org, and soon! Many assignments have already gone out.
Want to keep up with our progress at Terre Magazine? We have a newsletter, which will send out very occasional updates; sign up here. Cheers from Paris, where we’re slogging through a brutal heat wave; I’ve taken refuge at a friend’s apartment to work until I’m brave enough to venture back out for a glass of wine.
Joan Didion: “It is easy to see the beginnings of things, and harder to see the ends. I can remember now, with a clarity that makes the nerves in the back of my neck constrict, when New York began for me, but I cannot lay my finger upon the moment it ended, can never cut through the ambiguities and second starts and broken resolves to the exact place on the page where the heroine is no longer as optimistic as she once was.” – “Goodbye to All That“
When I moved to New York, I didn’t know I wanted to be a writer. In fact, I’d forgotten all about writing as an artform, and was totally focused on an academic career.
But I grew up with writer parents, surrounded by books, our household first on the block to have a computer (or a “word processor,” rather, made by Epson–yes, they did computers before printers!). I couldn’t stay away from the life of words for long. Nobody ever said to me, “Hey, did you consider journalism, or writing?” It was like I was pulled to it, the métier spoke to me from a place beyond my control.
And as I set out teaching myself the basic skills of reporting and producing a story (nut graf, intro, body, conclusion; the foundational structure of everything), I realized that New York was going to be hard on me as a writer. Money was short, and student loans were heavy weights. I traveled to the Bronx at 5:30am to substitute teach in charter schools. Had almost no furniture. Ate lots of uninspired pasta and bulletproof Chinese food, drank cheap beer and Trader Joe’s wine, and often cried at night in a bathtub with a neat whiskey in hand: how am I going to do this, here, in this city?
Over the years, New York has not gotten any easier on me. I’ve gotten tougher, probably. I’ve learned to let the drive to write overcome everything. But other kinds of obstacles come into your life, if you stay in New York. Your relationships are strained. Dating, as a woman in her late twenties/early thirties, is an excruciating task; somehow I do know people who have met and fallen in love in New York but it has only presented itself to me a few times, and always accompanied by heartbreak. Money in New York is a contradiction; we never have enough of it but somehow keep on spending, because the city demands it.
In ways, New York has been very good to me. I’ve eaten some incredible meals, met brilliant people, had the chance to interact with some heavy-hitting winemakers and chefs and editors. I’ve learned fiction writing–which has made me a much better journalist–from some of the best editors and publishers in the city, and that I will carry with me for the rest of my life.
But, having now found a niche (or a passion? an unwise obsession? a devotion?) within the world of wine and food writing (the path to that is too long to recount here, but this earlier blog post touches on it), it is no longer satisfying for me to be in this concrete jungle, too far from the vineyards that most inspire me at this time.
I am a hopeless francophile. I first tried to learn French when I was 12; for whatever reason, Madame Fox strongly disliked me (OK, I was a rambunctious and probably rude kid), so after one semester I switched to Spanish. But I always wanted to learn the language. When I was 20, I was living in Spain and went to visit a friend who was doing a semester of art studies in Paris. Walking in the Latin Quarter one day, I needed to use a bathroom and waltzed into a restaurant as it was just opening. The waiters tried to push me out, but I persisted. One of them, in his starched white shirt and suspenders, raised a chair overhead and threw it toward me, yelling something I didn’t understand but was probably like putain americaine de merde avec votre président du merde (effectively: screw you, American with President Bush!). Since then, I was absolutely determined: I would learn French, move back to Paris, and take that city by its literary teeth, breathing in the ghosts of all those writers and thinkers of centuries past. I would write a book in Paris.
At 20, I had no idea that I’d be writing a book about wine in Paris, but that is now what I intend to do.
This is my last week in New York. I have no idea when I’ll be back. Possibly this fall, but I’m not sure. I also don’t have every detail of the next year of my life figured out–but I am headed to Paris with a small amount of earthly possessions, most importantly this laptop and a dog-eared copy of A Moveable Feast that my brother gave me (have you read about the latest Hem biography?) and will be based there.
Believe me, I know that living in Paris will be different than visiting for a week here or there. And I also know that Paris will offer its own set of challenges and complications (such as: greetings, with the French–are we kissing once, twice, seven times, a handshake?). But I have to give this a try. The world is too unstable, corrupt, sanitized, to not at least try to pursue what you think will make you happy. If something is calling to you, the only choice is to push aside the obstacles and go toward it.
In Paris, I’ll be working on Terre Magazine, as well as writing for wine magazines in the U.S. I’ll also be trying to do some more cultural writing; I used to cover art and film openings in New York, years back, and would like to return to that in Paris. I’ll be visiting lots of vineyards this summer, you can be sure. Will be headed to Greece next week, in fact, and then to Burgundy, later in June. Slovakia and Croatia are in the scheming, also, as well as the Jura and the Loire this fall.
And I’m working on the book, I am. But first and most importantly, as soon as I get to Paris, I’m going to call my friend and ask him to pick me up on his motorcycle, and head to Septime Cave in the 11éme for an apéro. I’m going to sit down with a glass of Champagne and listen to him tell me all about what it was like to be in Paris during the recent election. I’m going to have a snack of anchovies on toast. Or maybe, we’ll grab a bottle and bring it to the canal, to soak in the sun. And I’m going to relish in the experience of feeling at home in a new place–and in the fact that if somebody does throw a chair at me now, it will hopefully be because my French is too good, but I haven’t yet lost my ability to be sassy. Madame Fox would be proud.
I’m still so high off the incredible excursion earlier this month in Georgia. Stay tuned for my full story on the country’s wine and food culture soon on Vice MUNCHIES, and in the meantime I’ve put up some detailed tasting notes on this blog.
But this month has continued to be a gem, because the Terre Magazine fundraiser on Kickstarter has not only taken off successfully, but it has already reached its funding goal, and we are beyond thrilled. We knew there would be support for our project, but we didn’t anticipate that we’d reach our initial target in under two weeks, and then continue to raise money beyond that. Wine retailers around the country have pre-ordered copies in bulk, and people as far away as South Africa are ordering copies to be delivered to their homes. Working on the editorial calendar now, and I’m personally so excited about the articles and artwork we’ll be putting out.
I could not do any of this without my incredibly talented and brilliant co-founders, Katie June Burton and Erika DaSilva. Their artistic perspectives balance out my journalistic approach, and I have to say, it feels really good to say that Terre is a women-run publication.
To learn more about who we are, what Terre is, and what it means that we are women-run, check out the recent feature on our magazine by local writer Alicia Kennedy in Edible Brooklyn. You can still support the project on Kickstarter (link HERE) until June 8th; the more funds we have, the more we can offer our contributors in terms of compensation, plus we’ll be able to hold launch events to support our retail partners.
We are really looking forward to sharing Terre with you, and already the process has been so creatively fulfilling and challenging in all the right ways. We have a newsletter via Tiny Letter where you can sign up for occasional updates from Terre, and we’re also on Instagram.
Cheers to you all for your early support of this endeavor! Bon weekend!