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A Tony nominee at the age of 12, actress Anna Kendrick graduated from top honors in the theater world to film stardom in a string of popular mainstream and independent releases in the late 2000s. Kendrick has appeared in a number of projects since, including "Get a Job" with Alison Brie and Bryan Cranston and "Drinking Buddies" with Olivia Wilde and Jason Sudeikis. Anna Kendrick, and related speakers, have recently spoken at events for Speakerpedia Network Members. Let's hope the glass slipper fits -- Anna Kendrick may be taking on the role of Cinderella. In her upcoming comedy "Drinking Buddies," actress Anna Kendrick plays half of a couple that's fond of quaffing various cocktails. Actress and Portland native Anna Kendrick will fund 31 classroom projects at schools all over Maine this year through the online education charity DonorsChoose.org. Kendrick and an anonymous donor will fund a total of 74 requests for project funding this year in Maine schools, said Maya Kriet, a spokesperson for DonorsChoose.org.
After wowing the Broadway world in a 1998 production of "High Society," she impressed critics and audiences alike with her film debut in the 2003 comedy-musical, "Camp." Kendrick earned more praise for 2007's "Rocket Science," which preceded, the teen vampire romance, "Twilight" in 2008.
She co-starred with Chace Crawford as a couple expecting their first child in the romantic comedy in "What to Expect When You're Expecting." Kendrick also had a supporting role in the thriller "The Company You Keep" with Shia LaBeouf and Robert Redford that same year. Kriet would not say what the total amount of Kendrick’s donation is, but a list of Maine classroom projects funded through DonorsChoose.org shows that the typical funding amount ranges from a few hundred dollars to more than $2,000 per project.
She received a supporting actress Oscar nomination for "Up in the Air," which solidified her status as one of the brightest up-and-coming talents in entertainment. A few weeks ago, seven editors from a variety of publications participated in a round-table discussion, in a series of group emails, about how NOT to pitch. I started the conversation off with questions, and then we talked among ourselves about our horror stories, pet peeves, and practical advice.
Email is great for time-shifting, obviously; but the risk to the writer, especially one whom I don’t know, is that unless the idea is a killer the email could fall below my horizon.
And in truth, I often prefer a little preview-teaser email with just the logline of the idea, allowing me to say, “sure, tell me more,” instead of the full pitch. It’s weird how off-putting I have come to find the experience of clicking open an email only to have to wade through a two-graf anecdotal lede I’m not sure I’m going to care about.
Freelancers seem to have gotten the message, because I get very few phone queries these days (and several a day by email). Another is presenting a story as something you’re dying to write, rather than as something our reader would be dying to read. We want to be taken seriously, loved for who we really are!As for how to tell a story from a subject, I hope any journalism professors out there invest some more time in teaching this distinction.
I had one writer pitching me periodically for years on the idea of profiling a particular 1970s rocker of whom she was enamored.


I think I have a complicated cost-benefit algorithm involving the time it takes to produce a story versus the quality of the story, the quality of reporting versus the quality of writing versus the willingness to be edited, the quality of ideas (and their timeliness) versus the ability to execute them … I don’t know. When they replace us all with AIs, the EditBot 6000 will be able to articulate all that much better.
The pitch was about animal cognition and it listed several then-recent examples of surprisingly smart behavior. This required me to write a whole new corrective article for the next week’s section. Fortunately, I passed the pitch by our AIDS expert, Jon Cohen, who did some digging and found out that the freelancer’s mother-in-law was an author on the paper. I confronted the writer about this, and he told me it wasn’t a conflict of interest because he could be objective about the study. Most of my favorite horrid queries never get anywhere close to acceptance—they tend to involve writers going on for pages about themselves before mentioning a story idea.
Once in a while I’ll get a pitch from someone who wants to profile a celebrity, but wants my assurance that we’ll take the story before even approaching the celebrity to request an interview! I’m on several of these lists and I think it makes the writer seem sort of lonely and bad at prioritizing. For one, he’d call each of us not long after emailing the pitch (we all sit in the same room, so each of our phones would ring in turn) and email us continually asking for an update.
He became so annoying that eventually our managing editor had to remove him from our contributor roster.
I know they have to make sales, and that if I tarry, I am holding back their income and they are entitled to pitch elsewhere after some indeterminate amount of time.
I could tell from his pitch letters alone that he wasn’t a good writer, and his machine gun pitching was irritating the heck out of me. But to cut down on the pitching, I told him he couldn’t pitch me more than one story a day. Or answering a question but not appending the earlier email exchange, so I can’t tell what the original question was.
Or copying and pasting a pitch to some other magazine without changing the name of the magazine. Like, I know I probably should just let it go when writers think they’re being helpful when they embed a ton of links in a pitch (even though my build of Entourage unembeds them and leaves me with a document shot through with full-sized URLs, rendering it unreadable). I know I shouldn’t hold it against them when a pitch shows up in three different font sizes, five different fonts, and a lot of boldface. I think you would like each other.Hey, that sending-pitches-to-multiple-editors thing is hilarious, huh? It slows me down particularly when earlier exchanges regarding a pitch aren’t appended.


Grab me with a lead-in that shows what a fantastic idea you’ve got and what a fantastic writer you are.
We’re a glossy magazine that works with top photographers, and unless you regularly shoot for National Geographic, your photos are not going to cut it.
Even if it’s great, that’s two paragraphs I have to slog through before I know what the story is about—assuming it’s a magazine-y anecdotal thing. Using the terminology of my magazine has the double benefit of making my life easier by saving me from having to think about something, and also proving that you know whom you’re pitching.
However, as an aspiring writer without any publication record, i have would be happy if someone could clarify something for me 1. I understand that pitching on articles on which perspectives and commentaries have already appeared in Science, Nature etc is not original.
If they’re bad pitches, it would be kinder to tell a person, rather than watching him twist in the wind. One editor remarked that he tries to remember that he has a relatively secure job, and that the freelancer is just trying to keep afloat.
When I was an editor, things that would make me cringe were:(1) Getting the name of the publication, or my name, wrong.
Yes, you may be interested in pitching this story to our main competitor if we turn it down.
If you recently wrote PR for the university whose research you are now pitching as a freelancer, the editor needs to know that.Wow, apparently I had some things to get off my chest. Thankfully, pitching feels much less like a visit to the dentist these days.I do have a question, though, about something raised here. This, obviously, is not the same as getting rejected by an editor and tracking down their co-worker. But it does make me wonder if I should instead interpret silence as rejection.Thanks for the post.
There’s just no way to know.So, a bad idea to try another editor at the same magazine? We have a paranoid spam filter that sometimes blocks legitimate pitches (and that I can’t override), so it does make sense to check in after a few weeks of radio silence to make sure that the pitch arrived.



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