Getting Started in Equine Publishing: A Workshop for Writers, Artists and Photographers

by Moira C. Harris

Writer Prerequisites

• Skill in grammar, spelling, punctuation and style.

• Ability to make deadlines.

• A good writer shouldn’t be afraid to interview.

• Willingness to cover a variety of topics.

• Solid equine knowledge.

• A college degree is not a prerequisite.

Resources and Tips for Getting Started

• Obtain a copy of the magazine’s writer’s guidelines by writing a good introductory letter (not by calling or e-mailing). Send SASE for the editor’s reply. Follow submission instructions to the letter.

• Get Writer’s Market and The American Horse Council Directory. Consider joining American Horse Publications—it’s a valuable tool.

• Editors must see writing samples. This can be in the form of published work (it doesn’t matter where it’s published). If you haven’t had anything published before, send a completed manuscript.

• Understand the publication’s voice and style.

• When you turn in a manuscript, stay within the agreed upon word count. If the article is supposed to be 2,000 words, don’t turn in 5,000.

• Writers might consider taking some photo classes. Many times a manuscript accompanied by quality photos will be accepted, since the magazine is presented a complete package.

Ways to Make or Break A Relationship with Your Editor

• Make sure you have the name of the editor correct. It’s cutting your own throat to address your correspondence to the wrong person.

• Ensure you have the name of the magazine correct on your cover letter. Nothing says “mass mailing” like seeing the right editor’s name with the wrong publication.

• Read the magazine you are submitting to. If the magazine doesn’t cover horse racing, but you’ve got a special interview with the trainer of the Kentucky Derby winner, you haven’t done your homework. If you’re on a limited budget, there’s always the library, or sneak your reading in at Barnes & Noble!

• Look at new ideas. Don’t just pick the same topic that you just saw in one magazine and submit the idea to another.

• Establish your loyalties. Each magazine sees their writers as part of their team. How many teams do you play for?

• If you don’t hear back from the magazine within the allotted time, try not to pester or threaten the editorial staff. Even if they might have liked your article, they might return it because of your attitude.

• If the magazine only accepts exclusive submissions, don’t send it to every title you can find.

• Don’t e-mail blindly to editors without finding out first if they accept queries and manuscripts that way.

• Understand that you are creating product, not art. Keep the audience in mind. Otherwise, take up creative writing.

• Make sure your facts are accurate. If you’re handling a veterinary topic, you MUST make sure you have the most recent information, studies, research, etc. If you’re working on a training topic, you have to make sure the principles are sound. If you’re interviewing a noted industry professional, your quotes MUST be accurate. Keep notes or audiotapes. Archive them.

Photographer Prerequisites

• Good equipment.

• Discerning eye.

• Ability to edit film.

• Versatility, patience, and a good demeanor with animals.

• Formal education not entirely necessary if one is blessed with innate talent—otherwise basic courses in photography, darkroom processing, and photojournalism will help.

Ways to Make or Break A Relationship with Your Editor

• Photographers: don’t just go for the biggest feature in the magazine or the cover. Shoot material that can be considered stock first.

• Magazines realize that freelancers have the challenge of keeping their business profitable. Don’t make it tougher by alienating yourself. Submit the photos from one particular shoot to one magazine only.  Editors hate seeing the photo they just used for their cover on page 30 of the competition the following month.

• Just because you have lovely photos of a horse in a pasture doesn’t mean that a magazine can use them. Unless they’re doing a feature on “lovely horses in a pasture,” they won’t be used.

• Learn to shoot with slide film. Slide is the preference for nearly all national publications. Regional or local magazines are the exception, and often prefer print film.

• Most national magazines prefer to send out their film to be scanned. Therefore, digital images are usually only accepted by local or regional publications.

• Understand your subject matter: if you normally shoot western horsemanship and want to cover show jumping, you’ll need to understand how to time these shots properly.

• Keep your backgrounds uncluttered.

• Avoid shooting indoors, unless you are specifically doing barns. Indoor arena shots often have a yellow cast due to artificial light source. On-camera flashes won’t help much.

• Ensure horses are well groomed, that the arena fencing and footing is good, and that the rider is dressed appropriately. Many nice shots have been rejected because the subjects were sloppily dressed or the arena was a shambles.

• Get model releases whenever possible.  Set up your own photo shoots if you’re depicting something controversial.

• Label each of your slides with name, year photo was taken, brief description (i.e. Bruce Davidson on Eagle Lion at Rolex 1998) and a personal ID number. This ID number will help you keep track of what magazines are holding which images

• Include a list of photos that you are submitting. If you put possible captions on them (thoroughbred mare getting hoof tested as part of pre-purchase exam) this helps the photo editors make their selections.

• Include postage or means of return for your submission.

Artist Prerequisites

• Talent, ability to meet short deadlines.

• Most art is commissioned. Therefore, you need to establish a relationship with a magazine or two in order to get the assignments that they have. Note: Most magazines have limited budgets and so you have to keep that in mind when agreeing to a price for your work—and keep in mind the amount of effort that it will take you to create your illustrations.

• Send sample of your work (color photocopies are ideal) that editors can keep on file. Send updates on a regular basis as a way to “touch base” with editor. You may consider listing your general rates for commissioned artwork.

• Show versatility in style if possible.

• Demonstrate your personality/style in your submission. This way when the staff is looking through their art files, they will find the right artist to commission for that particular piece.

• Cartoonists should simply send a collection of unpublished cartoons (can also send “roughs” depicting the ideas) and let magazine select from them. Cartoonists should stay away from clichés that have been done to death (“Wet Paint (horse)”, “Horses Playing horseshoes with sneakers,” etc.)

• After agreeing on rates with magazine, don’t ask to increase the amount if the assignment took you much longer than expected. Exception: Magazine that wants multiple “revisions” after you have furnished what was originally asked for.

• Send the originals and ask that they be returned when the magazine goes to press if you would like them back.

Moira C. Harris is the editor of Horse Illustrated magazine, and is group editor for Fancy Publications’ equine division (Horses USA, Quarter Horses USA  and Young Rider). She has been in the publishing industry for more than 15 years, and has been on both sides of the pen—both as a freelance writer and editor. She has written two books, with a third in progress on the life of John Lyons, America’s Most Trusted Horseman. A lifelong horsewoman, Harris has ridden in various disciplines including western pleasure, endurance, dressage and hunter/jumpers. She currently competes in the hunter and equitation divisions with her Irish Thoroughbred Missy and still hacks her retired dressage horse, Charlie.