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    Writers' & Artists' Yearbook 2020
    Writers' & Artists' Yearbook 2020
    Writers' & Artists' Yearbook 2020
    Ebook2,395 pages18 hours

    Writers' & Artists' Yearbook 2020

    By Bloomsbury Publishing

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    About this ebook

    Packed with practical advice, guidance and inspiration about all aspects of the writing process, this Yearbook is the essential resource on how to get published.

    It will guide authors and illustrators across all genres and markets: those looking for a traditional, hybrid or self-publishing route to publication; writers of fiction and non-fiction, poets and playwrights, writers for TV and radio, newspapers and magazines.

    New articles for the 2020 edition include:
    - Raffaella Barker Writing romantic fiction
    - Chris Bateman Writing for video games: a guide for the curious
    - Dean Crawford Going solo: self-publishing in the digital age
    - Jill Dawson On mentoring
    - Melissa Harrison So you want to write about nature …
    - Kerry Hudson Writing character-led novels
    - Mark Illis Changing lanes: writing across genres and forms
    - Maxim Jakubowski Defining genre fiction
    - Antony Johnston Breaking into comics
    - Suzanne O'Sullivan Writing about science for the general reader
    - Tim Pears Writing historical fiction: lessons learned
    - Di Redmond Ever wanted to write a saga?
    - Anna Symon Successful screenwriting
    - Nell Stevens Blurring facts with fiction: memoir and biography
    -     Ed Wilson Are you ready to submit?
    LanguageEnglish
    PublisherBloomsbury Publishing
    Release dateJul 25, 2019
    ISBN9781472947505
    Writers' & Artists' Yearbook 2020

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      Writers' & Artists' Yearbook 2020 - Bloomsbury Publishing

      Writers’ & Artists’

      YEARBOOK

      2020

      Other Writers & Artists titles include

      Writers’ & Artists’ Companions

      Series Editors: Carole Angier and Sally Cline

      Each title is full of expert advice and tips from bestselling authors.

      Crime and Thriller Writing by Michelle Spring and Laurie R. King

      Life Writing by Sally Cline and Carole Angier

      Literary Non-fiction by Sally Cline and Midge Gillies

      Writing Children’s Fiction by Yvonne Coppard and Linda Newbery

      Writing Historical Fiction by Celia Brayfield and Duncan Sprott

      Writing Short Stories by Courttia Newland and Tania Hershman

      Novel Writing by Romesh Gunesekera and A.L. Kennedy

      Playwriting by Fraser Grace and Clare Bayley

      Writing for TV and Radio by Sue Teddern and Nick Warburton

      NEW in July 2019

      Children’s Writers’ & Artists’ Yearbook 2020

      ‘To find your way as a children’s author, CWAYB should be your first port of call.’ Sarah Crossan

      NEW in October 2019

      Writers’ & Artists’ Guide to Writing for Children and YA by Linda Strachan

      Writers’ & Artists’ Guide to Getting Published by Alysoun Owen

      You can buy copies from your local bookseller or online at

      www.writersandartists.co.uk/shop

      Special offer

      Visit www.writersandartists.co.uk before 30 June 2020 and enter the promotional code WAYB20 to receive an exclusive 10% discount on our editorial services.

      This edition of the Yearbook is dedicated to the memory of renowned editor and author Diana Athill.

      Diana died in January 2019 aged 101; her article About editing and writing starts here.

      Writers’ & Artists’

      YEARBOOK

      2020

      ONE HUNDRED AND THIRTEENTH EDITION

      THE ESSENTIAL GUIDE TO THE MEDIA AND PUBLISHING INDUSTRIES

      The perfect companion for writers of fiction and non-fiction, poets, playwrights, journalists, and commercial artists

      Contents

      A note from the Editor

      More than a book

      Foreword – Samantha Shannon

      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

      Crowdfunding your novel – Alice Jolly

      What do publishers do? – Bill Swainson

      Debut success with an indie publisher – Wyl Menmuir

      On mentoring – Jill Dawson

      Understanding publishing agreements – Gillian Haggart Davies

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

      Defining genre fiction – Maxim Jakubowski

      Electronic publishing – Philip Jones

      ISBNs: what you need to know

      Who’s who in publishing

      Print on demand – David Taylor

      Public Lending Right

      The mathematics of publishing – Scott Pack

      Listings

      Book publishers UK and Ireland

      Book publishers overseas

      Audio publishers

      Book packagers

      Book clubs

      Inspiring writers

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

      Managing a successful writing career – Tony Bradman

      The path to a bestseller – Clare Mackintosh

      Advice to a new writer – Rachel Joyce

      Writing short stories – Tania Hershman

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

      Finding my agent – Martina Cole

      Changing voices – Alexander McCall Smith

      Notes from a successful crossover author – Neil Gaiman

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

      About editing and writing – Diana Athill

      Writing advice

      Becoming a comic writer – Marina Lewycka

      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

      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

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

      Literary translation – Danny Hahn

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

      Being a travel writer – Sara Wheeler

      Writing a cookbook – Ruby Tandoh

      Writing for the health and wellness market – Anita Bean

      Writing sports books – Frances Jessop

      Poetry

      Becoming a published poet – Julia Copus

      How to become a poet – Andrew McMillan

      Notes from a passionate poet – Benjamin Zephaniah

      Getting your poetry out there – Neil Astley

      Listings

      Poetry organisations

      Screen and audio

      Notes from a successful soap scriptwriter – Mary Cutler

      Successful screenwriting – Anna Symon

      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

      Bringing new life to classic plays – Mike Poulton

      Writing for the theatre – David Eldridge

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

      Listings

      Theatre producers

      Literary agencies

      Putting together your submission – Hellie Ogden

      Are you ready to submit? – Ed Wilson

      How to submit a non-fiction proposal – Andrew Lownie

      Getting hooked out of the slush pile – Madeleine Milburn

      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

      How to get ahead in cartooning – Martin Rowson

      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

      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

      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

      The dos and don’ts of self-publishing – Alison Baverstock

      What do self-publishing providers offer? – Jeremy Thompson

      How self-publishing started my publishing journey – Mel Sherratt

      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

      Glossary of publishing terms

      Software for writers

      Editing your work

      Indexing – Society of Indexers

      Listings

      Libraries

      Writers’ retreats and creative writing courses

      Law and copyright

      Copyright questions – Gillian Haggart Davies

      UK copyright law and publishing rights – Lynette Owen

      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

      A note from the Editor

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

      Welcome to this new, expanded edition of the Yearbook. Distributed throughout its pages are listings with details of who to contact across the publishing and wider media industries. These are the individuals and organisations that might just help in your quest to get your work into print, or ebook, or audiobook. We include updated information on literary agents and book publishers, as well as the plethora of prizes, festivals and courses that you can enter, attend and take to increase your chances of being noticed.

      The two most effective ways to boost your luck in getting your feet on the rungs of the publishing ladder are to read and to write. And to do lots of both. Write anything and everything. Practise in order to improve your writing, find your ‘voice’ and, in time, your readers. The authors and publishing practitioners who dole out advice in the more than 80 articles in this bulging red book are perfect examples of writers who have done just that. Collectively, they provide hands-on expertise across a wide range of genres, formats, and routes to market. This is perfectly exemplified in the new article by Mark Illis here – Changing lanes: writing across genres and forms. Genres are demystified in Maxim Jakubowski’s Defining genre fiction here. Knowing how to tackle new forms is something prolific writer Antony Johnston knows a thing or two about; his Breaking into comics is here.

      This year, we have also added new articles by novelists Tim Pears (Writing historical fiction: lessons learned; see here), Raffaella Barker (Writing romantic fiction, here) and Di Redmond (Ever wanted to write a saga?, here). Kerry Hudson explains her approach to her fiction in Writing character-led novels here and Nell Stevens explores the permeable boundaries between forms in her Blurring facts with fiction: memoir and biography here. Weaving factual elements into her novels is something Melissa Harrison does too – see So you want to write about nature ... here. Making technical content accessible is what Suzanne O’Sullivan does brilliantly: see her article Writing about science for the general reader here.

      If you want to keep up to date with the latest ups and downs and trends in the publishing industry, take a look at the annually updated articles by the Bookseller’s Tom Tivnan (New, views and trends: review of the publishing year, here) and Philip Jones ( Electronic publishing, here). In the Screen and audio section are two new pieces to inspire the budding writer for screen: Successful screenwriting by Anna Symon is here and Writing for videogames: a guide for the curious by Chris Bateman is here. If you need help with your writing, then Jill Dawson’s On mentoring (here) will give plenty of support. If you think you are ready to submit to an agent, you might want to double-check by reading Ed Wilson’s Are you ready to submit? here and Charlotte Seymour’s A day in the life of a literary agent here. Or, if you would rather follow the DIY route, then let Dean Crawford be your guide – Going solo: self-publishing in the digital age is here.

      Whatever your intended market or subject or format, I hope that the advice and information in this Yearbook sets you off in the right direction and provides the inspiration you need to fulfil your writing ambitions.

      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.

      More than a book

      The Writers & Artists website (www.writersandartists.co.uk) provides up-to-the-minute writing advice, blogs, competitions and the chance to share work with other writers. You can sign up to our regular newsletter; browse our Writing Calendar; and learn about the editorial services we offer. We also run courses, workshops and other events, including How to Hook an Agent lunches and one-day How to Get Published conferences around the country.

      Our listings service can be accessed at www.writersandartists.co.uk/listings. In addition to all the contacts in this edition of the Yearbook, subscribers are able to search hundreds of additional organisations and companies.

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

      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 13 February 2020 to competition@bloomsbury.com. For full details, terms and conditions, and to find out more about how to submit your entry, visit www.writersandartists.co.uk/competitions.

      You might like to read Writing short stories here of this Yearbook.

      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.

      Praise for the Yearbook

      the book which magically contains all other books ... an entrance ticket to the world you long for.’

      Fay Weldon

      ‘So much the budding writer needs.’

      Martina Cole

      ‘Read this book very carefully. Treasure it.’

      Rachel Joyce

      ‘ ... buy a copy of the current Writers’ & Artists’ Yearbook and get yourself out there.’

      Donal Ryan

      ‘Full of useful stuff.’

      J.K. Rowling

      ‘Everything you need to know about the business of being a writer.’

      Lawrence Norfolk

      ‘When you’re looking to get published, it’s your Bible.’

      The Association of Illustrators

      ‘Every writer can remember her first copy of the Writers’ & Artists’ Yearbook.’

      Rose Tremain

      ‘The wealth of information ... is staggering.

      The Times

      ‘I went out and bought myself a copy of the Writers’ & Artists’ Yearbook ... and talked to editors about ideas for stories. Pretty soon I found myself hired to do interviews and articles.’

      Neil Gaiman

      ‘The one-and-only, indispensable guide to the world of writing.’

      William Boyd

      Foreword

      Samantha Shannon

      Some years ago, I wrote my first story. I believe I was seven or eight years old. From what little I remember of it, it was about a princess who inherited the moon. The reason I know nothing else about this piece of my juvenilia is that I only printed one copy, and I sent that copy to a publishing house (don’t do this). I used spotless paper and double-checked that the ink had dried. I stapled the pages together, sealed them in an envelope, and penned the address in my very best handwriting. My grandmother walked me down the street to the postbox and, together, we sent my little story to the only publisher I could recall off the top of my head.

      For a long time, I forgot about that story. I have no proof that it existed; it survives as a cobweb in the corner of my memory. Still – for a short time – it was out in the world. I imagine someone heaved a sigh when it arrived as it did, bereft of an agent to represent it or a synopsis to describe it. Perhaps a kind-hearted editor would have sent me a reply, had they known I was a child with a vivid imagination and no idea how publishing worked – but they would have hit a dead end if they’d tried. I had sent no letter to introduce myself, nor included a self-addressed envelope. I’m not confident I even thought to include my name on the cover.

      Perhaps it was because I never got an answer that in my young mind a silence grew around publishing. My impression of it was all shadow and clockwork. Perhaps machines created books. Perhaps they grew on trees. Either way, it was clear that little girls like me had no place in the process. I continued to write stories, but I set aside the notion that anyone would ever find them in a bookshop. The author became an abstract concept. I glossed over the names on my favourite books, for they belonged to ethereal beings whose lives were worlds away from mine.

      Then a media storm around a certain author brought her name to my attention. People weren’t just talking about a book but about its creator – about her life, her dreams, and how she had conjured a universe in a café and on trains. There was fierce interest in her personal story. She was telling marvellous tales, but she was not a clockwork toy, not a shadow. Reading about her reminded me of what I must have always known – that people wrote books. Real people. From then on, I plunged back in to writing ferociously, with a luminous dream: I was going to be an author.

      When I was 15, I started a full-length novel. Once it was finished, I decided to try to get it published but found myself with as little knowledge of publishing as I’d possessed when I was a child. All I had gained was a suspicion that there were many more pieces in the jigsaw than one author and one story, and I had no sense of how to fit those pieces together. I turned to the internet, where I found a local freelance editor and paid her all of my saved-up pocket money to look at a few chapters. Countless websites sang to me, promising me they could publish my book if I paid them far more money than I had ever had. I had only a tenuous understanding of what an agent was. In short, I was overwhelmed.

      When I found the Writers’ & Artists’ Yearbook it was like striking a match in the dark. After someone mentioned it to me in passing, I got my hands on a copy straight away. With every page I turned, I understood more about the trade that had flummoxed me since I was a child. Soon I was armed with the knowledge I needed to begin my journey.

      Writers’ & Artists’ Yearbook does not come with a guarantee of publication. There is no formula to publishing, no code to crack, no single ‘right answer’ that will launch your book onto the shelves. I don’t think I’ve ever heard exactly the same publication story twice. All writers are wayfarers, and there are many paths we travel on ... some longer than others. That novel I wrote when I was 15 never saw the light of day. Even though I followed agency guidelines, even though I used the right font and the right line spacing – it was not to be.

      You might have a book like that. You might have several. Trying to get someone to see them can sometimes feel like knocking on a door that never opens. But, if there’s one thing I can tell you from the other side, it’s that each minute you spend writing is worthwhile. Every story whets your craft. Every story hones your ability see a tale through to its end. I would not have written my debut novel, The Bone Season (Bloomsbury 2013), without having first written the one I had to put away.

      I got my book deal when I was 20. I’ve now been in the industry for seven years and have three bestsellers under my belt – yet there are still things I’m only just learning, things that take me by surprise. As with any vocation, getting to grips with being a writer is a lifelong process. But, by opening Writers’ & Artists’ Yearbook, you’ve taken your first step. This is your toolbox, your skeleton key, and the torch that will illuminate every dark corner of publishing. I wish you all the luck in the world.

      Samantha Shannon is the New York Times and Sunday Times bestselling author of The Bone Season series: The Bone Season (2013), The Mime Order (2015) and The Song Rising (2017). It is a seven-book series for Bloomsbury Publishing. Her other books, also published by Bloomsbury, include On the Merits of Unnaturalness (2016) and The Pale Dreamer (2016). Her fourth and most recent novel is The Priory of the Orange Tree (2019). Samantha’s work has been translated into 26 languages. She is a graduate of St Anne’s College, Oxford, and lives in London.

      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. Many publications do not appear in the lists because the market they offer for the freelance writer is either too small or too specialised, or both. To help writers get started, we offer some guidelines for consideration before submitting material.

      Study the market

      • The importance of studying the market cannot be over emphasised. 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.

      • Magazine editors complain about the unsuitability of many submissions, so before sending an article or feature, always carefully study the editorial requirements of the magazine – not only for the subjects dealt with but for the approach, treatment, style and length. These comments will be obvious to the practised writer but the beginner can be spared much disappointment by consulting copies of magazines and studying their target market in depth.

      • For additional information on markets, see the UK & Ireland volume of Willings Press Guide, which is usually available at local reference libraries and also online (www.cision.co.uk/resources/white-papers/willings).

      Check with the editor first

      • Before submitting material to any newspaper or magazine it is advisable to first contact the relevant editor. The listings beginning here give the names of editors for each section of the national newspapers. A quick telephone call or email to a magazine will establish the name of the relevant commissioning editor.

      • Most newspapers and magazines expect copy to be sent by email.

      • It is not advisable to send illustrations ‘on spec’; check with the editor first. For a list of publications that accept cartoons see here.

      Explore the overseas market

      • For newspapers and magazines outside the UK, visit www.writersandartists.co.uk/listings. For fuller listings, refer to the Willings Press Guide Volume for World News Media.

      • Some overseas magazine titles have little space for freelance contributions but many of them will consider outstanding work.

      • It is worth considering using an agent to syndicate material written for the overseas market. Most agents operate on an international basis and are more aware of current market requirements. Listings for Syndicates, news and press agencies start here.

      Understand how newspapers and syndicates work

      • The larger newspapers and magazines buy many of their stories, and the smaller papers buy general articles, through well-known syndicates. Another avenue for writers is to send printed copies of their stories published at home to an agent for syndication overseas.

      • 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, not only with news of special interest to the country concerned, but also with regular summaries of British news and with articles on events of particular importance. 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. Listings of National newspapers UK and Ireland start here.

      Payment

      • The Yearbook has always aimed to obtain and publish the rates of payment offered for contributions by newspapers and magazines. Many publications, however, 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.

      See also…

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

      • Regional newspapers UK and Ireland, here

      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 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, these 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 is 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 Face-book 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 Journalist 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.

      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.

      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.

      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 a 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:amemoir 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, is 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 Sky.com, Vogue , Men’s Fitness , Shortlist , ITV News, Huffington Post , Glamour , Marie Claire , the National and MSN, and written editorial for companies including Global Radio, Shell, EE and Debenhams. For more information see https://suzanneelliott.wordpress.com 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 may save 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 non-starter,’ 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,’ confirmsHughes. ‘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 33 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 online-only news websites.

      BBC News

      email haveyoursay@bbc.co.uk

      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 020-8612 7000

      email news.desk@express.co.uk

      website www.express.co.uk

      Facebook www.facebook.com/DailyExpress

      Twitter @Daily_Express

      Editor Lloyd Embley

      Daily Mon–Fri 60p, 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 Michael Booker

      Diary Editor Jack Teague

      Environment Editor John Ingham

      Features Editor Natasha Weale

      Head of Lifestyle Mernie Gilmore

      News Editor Geoff Maynard

      Online Editor Emily Fox

      Political Editor Macer Hall

      Sports Editor Howard Wheatcroft

      Travel Editor Jane Memmler

      Daily Express Saturday Magazine

      Editor Graham Bailey

      Free with paper

      Daily Mail

      Northcliffe House, 2 Derry Street, London W8 5TT

      tel 020-7938 6000

      email news@dailymail.co.uk

      website www.dailymail.co.uk

      Facebook www.facebook.com/DailyMail

      Twitter @MailOnline

      Editor Geordie Greig

      Daily Mon–Fri 70p, Sat £1

      Supplements Weekend

      Founded 1896.

      Deputy Editor Tobyn Andreae

      Deputy Editor Gerard Greaves

      City Editor Alex Brummerr

      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 Lee Clayton

      Literary Editor Sandra Parsons

      Moneymail Editor Dan Hyde

      Picture Editor Paul Silva

      Political Editor Jason Groves

      Travel Editor Mark Palmer

      MailOnline

      tel 020-3615 2245

      email tips@dailymail.com

      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 020-7293 3000

      email mirrornews@mirror.co.uk

      website www.mirror.co.uk

      Facebook www.facebook.com/DailyMirror

      Twitter @DailyMirror

      Editor Alison Phillips

      Daily Mon–Fri 80p, 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.

      Head of Business Graham Hiscott

      Head of News Tom Carlin

      Head of Politics Jason Beattie

      Head of Sports Dominic Hart

      Picture Editor Ben Jones

      Political Editor Andrew Gregory

      Daily Record

      1 Central Quay, Glasgow G3 8DA

      tel 0141 309 3000

      email reporters@dailyrecord.co.uk

      website www.dailyrecord.co.uk

      Facebook www.facebook.com/

      TheScottishDailyRecord

      Twitter @Daily_Record

      Daily Mon–Fri 80p, 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 020-8612 7000

      email news@dailystar.co.uk

      website www.dailystar.co.uk

      Facebook www.facebook.com/thedailystar

      Twitter @Daily_Star

      Editor Jon Clark

      Daily Mon–Fri 45p, Sat 60p

      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

      Head of Digital Sport Jack Wilson

      Head of News Gary Hicks

      News Editor John McJannet

      Daily Star Sunday

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

      tel 020-8612 7424

      website www.dailystar.co.uk/sunday

      Editor Stuart James

      Sun 50p

      Supplements OK! Extra

      Opportunities for freelancers. Founded 2002.

      Daily Telegraph

      111 Buckingham Palace Road, London SW1W 0DT

      tel 020-7931 2000

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